Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/elizabethantransOOscot 


\ 


^iasfiar  ^emi-Centenmal  Series 


ELIZABETHAN  TRANSLATIONS  FROM  THE  ITAL- 
IAN. By  Mary  Augusta  Scott,  Ph.D.  (A.B.  Vas- 
sar,  1876),  Professor  of  English  Literature  in  Smith 
College. 

SOCIAL  STUDIES  IN  ENGLISH  LITERATURE. 
By  Laura  J.  Wylxe,  Ph.D.  (A.B.  Vassar,  1877),  Pro- 
fessor of  English  in  Vassar  College. 

THE  LEARNED  LADY  IN  THE  EIGHTEENTH 
CENTURY.  By  Myra  Reynolds,  Ph.D.  (A.B.  Vas- 
sar, 1880),  Professor  of  English  Literature  in  Chicago 
University.   [/« preparatwn.'] 

THE  CUSTOM  OF  DRAMATIC  ENTERTAINMENT  IN 
SHAKESPEARE'S  PLAYS.  By  Orih  J.  Hatcher, 
Ph.D.  (A.B.  Vassar,  1888),  Formerly  Associate  Pro- 
fessor of  Comparative  Literature  in  Bryn  Mawr  Col- 
lege. \_In  preparation.'] 

INTRODUCTION  TO  THE  STUDY  OF  VARIABLE 
STARS.  By  Caroline  E.  Furness,  Ph.D.  (A.B.  Vas- 
sar, 1 891),  Professor  of  Astronomy  in  Vassar  College. 

MOVEMENT  AND  MENTAL  IMAGERY.  By  Mar- 
garet Floy  Washburn,  Ph.D.  (A.B.  Vassar,  1891), 
Professor  of  Psychology  in  Vassar  College. 

BRISSOT  DE  WARVILLE  :  A  STUDY  IN  THE  HIS- 
TORY OF  THE  FRENCH  REVOLUTION.  By  Eloise 
Ellery,  Ph.D.  (A.B.  Vassar,  1897),  Associate  Profes- 
sor of  History  in  Vassar  College. 

HOUGHTON  MIFFLIN  COMPANY 
Boston  and  New  York 


ELIZABETHAN  TRANSLATIONS 
FROM  THE  ITALIAN 


"tBa^^at  J^emi-Centennial  ^mt$ 


ELIZABETHAN 
TRANSLATIONS  FROM 
THE  ITALIAN 


MARY  AUGUSTA  SCOTT,  Ph.D. 


Professor  of  the  English  Language  and  Literature 
In  Smith  College 

The  story  is  extant,  and  writ  in  choice  Italian 
Hamlet,  iii,  2. 
In  che  i  gravi  labor  gli  sono  grati 

IL  Fabadiso,  xziii,  6. 


BOSTON  AND  NEW  YORK 
HOUGHTON  MIFFLIN  COMPANY 
<^l)t  Ritoet^ibe  jDtes?  Cambridge 
1916 


BY 


COPYRIGHT,  1916,  BY  MARY  AUGUSTA  SCOTT 
ALL  RIGHTS  RESERVED 

Published  ^uly  ZQib 


PUBLISHED  IN  HONOR  OF  THE 

FIFTIETH  ANNIVERSARY 
OF  THE 

OPENING  OF  VASSAR  COLLEGE 
1865-1915 


TO 

J.  J.  JUSSERAND 
French  Ambassador  to  the  United  States 


WHOSE  SCHOLARSHIP  IN  ENGLISH  HAS  RENEWED  THE 

ANCIENT  BONDS  BETWEEN  FRANCE  AND  ENGLAND 
WHOSE  DIPLOMACY  HAS  STRENGTHENED  THE  HISTORIC 
FRIENDSHIP  BETWEEN  FRANCE  AND  THE  UNITED  STATES 

I  DEDICATE  THIS  BOOK 


PREFACE 


During  the  winter  of  1891-92,  I  made  a  list  of  all  English 
dramas  produced  between  the  accession  of  Edward  VI,  in  1549, 
and  the  closing  of  the  theatres  by  the  Parliamentarians,  in 
1642.  My  list  showed  that  some  fifteen  hundred  plays  belong 
to  the  period  of  the  great  drama  of  the  reigns  of  Elizabeth  and 
James  I,  of  which  about  one-half  are  extant.  Of  extant  Eliza- 
bethan dramas  it  set  apart  about  one-third  as  Italianate;  they 
are  Italian  in  source,  or  plot,  or  scene,  or  general  tone.  Much 
has  been  written  about  Italian  influences  in  Elizabethan  litera- 
ture, and  lies  scattered  throughout  English  criticism  of  the  last 
three  hundred  years.  The  subject  from  the  Italian  side  is  not 
so  well  known. 

In  the  spring  of  1892,  I  was  preparing  to  go  to  Europe  to 
study  for  the  doctor's  degree.  At  that  time,  the  University  of 
Zurich  was  the  only  European  university  that  admitted  women 
to  the  degree  of  doctor  of  philosophy.  Nor  did  the  wise  liber- 
ality of  the  Swiss  university  require  that  candidates  should 
study  in  Zurich;  a  woman  could  work  wherever  she  could  carry 
on  her  studies  to  the  best  advantage,  and  the  University  of 
Zurich  would  admit  her  to  the  degree,  provided  she  passed  the 
required  examinations.  I  had  just  arranged  to  study  the 
Romance  languages  and  literatures  in  France  and  Italy,  and 
to  be  examined  by  the  University  of  Zurich,  when  Yale  opened 
its  doors  to  graduate  women.  That  enlargement  of  opportu- 
nity in  the  higher  education  of  women  was  of  great  interest  to 
me  as  a  college  woman,  and  my  own  problem  was  simplified 
when  I  was  appointed  the  first  woman  fellow  of  Yale  University. 

At  Yale  I  was  fortunate  in  being  able  to  study  under  the 
direction  of  Professor  Thomas  R.  Lounsbury.  I  have  always 
regarded  Professor  Lounsbury *s  attitude  towards  graduate 
work  as  a  model.  He  accepted  my  proposal  to  write  a  thesis  on 


PREFACE 


the  Italianization  of  the  Elizabethan  drama,  and  was  interested 
in  what  I  thought  I  could  do  with  it  during  the  two  years  of 
required  residence  for  the  degree.  He  borrowed  my  list  of 
Elizabethan  plays,  and  kept  it  during  the  greater  part  of  the 
first  year.  When  the  bibliography  came  back,  I  found  that  he 
had  increased  its  value  by  adding  many  details  from  the  re^ 
sources  of  his  great  scholarship  in  English.  But  after  establish- 
ing friendly  relations,  Professor  Lounsbury  left  me  to  my  own 
devices.  We  met  now  and  then  at  his  house  or  mine  and  ex- 
changed ideas,  plentifully  seasoned  in  true  Elizabethan  fashion 
with  jest  and  repartee.  When  my  thesis  was  completed.  Pro- 
fessor Lounsbury  read  it  and  saw  to  it  that  it  met  all  university 
regulations.  In  1894, 1  was  admitted  to  the  degree  of  doctor  of 
philosophy,  on  examination  and  the  presentation  of  a  thesis, 
on  The  Elizabethan  Drama,  especially  in  Its  Relation  to  the 
Italians  of  the  Renaissance, 

Between  1895  and  1899,  I  published  four  studies  on  Eliza- 
bethan Translations  from  the  Italian.  The  monographs  were  a 
development  of  my  Yale  thesis,  and  were  published  in  the 
Publications  of  the  Modern  Language  Association  of  America^ 
Part  I,  on  Romances  in  Prose,  was  printed  in  the  Publications, 
Vol.  X,  No.  2,  April,  1895;  Part  II,  on  Translations  of  Poetry, 
Plays,  and  Metrical  Romances,  was  published  in  Vol.  xi.  No.  4, 
December,  1896;  Part  III,  Miscellaneous  Translations  on  Reli- 
gion and  Theology,  Science  and  the  Arts,  Grammars  and  Diction- 
aries, and  Proverbs,  was  published  in  Vol.  xiii,  No.  1,  January, 
1898;  and  Part  IV,  Miscellaneous  Translations  on  Voyages  and 
Discovery,  History  and  Politics,  Manners  and  Morals,  and 
Italian  and  Latin  Publications  in  England,  was  published  in 
Vol.  XIV,  No.  4,  December,  1899. 

Altogether  the  four  preliminary  studies  made  a  collection 
of  342  Elizabethan  Translations  from  the  Italian  and  53  Italian 
and  Latin  Publications  in  England.  The  value  of  the  work  in 
the  history  of  English  literature  was  at  once  recognized,  and 
the  four  studies  brought  to  me  much  suggestive  and  useful 
criticism  from  Elizabethan  scholars,  both  American  and  for- 


PREFACE 


xi 


eign.  I  began  to  revise  in  1895,  before  the  first  study  was  actu- 
ally in  print,  and  I  have  been  revising  the  whole  work  ever  since 
in  the  intervals  of  a  busy  academic  life.  Into  that  life,  other 
literary  activities  have  come  to  claim  my  interest  and  my 
leisure,  —  what  there  has  been  of  that,  —  but  my  Elizabethan 
Translations  from  the  Italian  have  been  always  with  me.  In 
this  book  they  are  published,  revised  up  to  date.  The  revision 
brings  together  into  the  convenient  space  of  one  volume  394 
Elizabethan  Translations  from  the  Italiany  together  with  72 
Italian  and  Latin  Publications  in  England. 

In  combining  the  four  studies,  I  have  retained  the  original 
classification  of  the  translations  into  groups,  according  to  sub- 
ject, and  the  original  order  of  presenting  the  groups.  The  anno- 
tated translations  begin  with  Romances  in  Prose  and  end  with 
books  on  Manners  and  Morals,  followed  by  the  Italian  and 
Latin  Publications.  Constructed  on  this  more  compact  plan, 
the  Elizabethan  Translations  from  the  Italian  divide  themselves 
by  kind  into  twelve  sections.  In  each  section,  the  translations 
are  arranged  in  chronological  order,  except  that  different 
Elizabethan  translations  of  the  same  original  are  grouped 
together.  Finally,  adopting  the  suggestion  of  Charles  Eliot 
Norton,  I  have  numbered  consecutively  the  466  titles  of  the 
twelve  sections. 

As  to  titles,  I  have  printed  verbatim  the  title  of  the  first  edi- 
tion, wherever  possible;  where  the  first  edition  is  unknown,  I 
have  used  the  earliest  accessible  title.  There  may  be,  and  prob- 
ably are,  some  inaccurate  titles,  but  no  inaccuracy  is  due  to 
conjecture  or  alteration. 

Many  of  these  Elizabethan  books,  both  English  and  Italian, 
are  owned  by  the  British  Government.  I  verified  the  titles  of 
all  these  from  the  Catalogue  of  the  British  Museum,  which  I 
consulted  both  in  the  library  of  the  Peabody  Institute  of  Balti- 
more, and  in  the  New  York  Public  Library.  The  great  library 
formed  by  Henry  Huth  contained  a  goodly  number  of  these 
rare  books.  I  verified  the  titles  of  all  Huth  translations  and 
originals  from  the  excellent  Huth  Library  Catalogue.  I  found 


xii 


PREFACE 


some  exemplars  in  the  Peabody  Institute  Library,  and  I  have 
myself  picked  up  a  few  of  my  translations. 

When  the  studies  came  out  in  preliminary  form  I  indicated 
the  present  ownership  of  the  books  wherever  I  knew  it.  In  this 
book  I  mention  the  whereabouts  of  an  Elizabethan  translation 
only  in  the  case  of  public  libraries,  and  of  my  own  exemplars 
that  will,  I  hope,  ultimately  pass  from  private  to  public  owner- 
ship. My  reason  for  this  change  is  the  surprising  uncertainty 
of  private  ownership,  even  over  comparatively  few  years. 
When  I  brought  out  the  article  on  translations  of  Italian  poetry 
in  1896,  the  1591  edition  of  Spenser's  Complaints  was  owned 
by  the  British  Museum,  the  Bodleian,  the  Rowfant,  Huth, 
Britwell,  and  Chatsworth  libraries.  Of  the  four  private  libra- 
ries named,  the  Huth  and  Rowfant  books  are  now  dispersed, 
and  the  Britwell  and  Chatsworth  libraries  have  been  depleted. 
In  this  connection,  I  may  illustrate  the  market  value  of  some 
Elizabethan  translations.  Henry  Huth  bought  the  rare  first 
edition  (1567)  of  Geoffrey  Fen  ton's  Certaine  Tragicall  Dis- 
courses y  in  1864,  for  twelve  pounds;  at  the  Huth  sale,  June  3, 
1913,  it  fetched  sixty  pounds,  an  increase  of  five  hundred  per 
cent. 

After  the  first,  or  the  earliest  known  edition  of  a  transla- 
tion, I  have  noted  as  far  as  I  knew  them  all  succeeding  editions, 
in  order  to  give  the  life  history  of  the  Elizabethan  editio  prin- 
cess. To  save  space,  modern  English  titles  are  given  only  where 
the  Italian  original,  like  the  Decameron,  has  gone  on  in  litera- 
ture and  art  and  become  a  world  book.  It  is  of  more  than  pass- 
ing interest  that  the  really  great  Elizabethan  translation  of 
II  CortegianOy  by  Sir  Thomas  Hoby,  was  twice  reprinted  in 
1900,  while  the  1576  translation  of  Galateo,  a  mediocre  per- 
formance, crossed  the  Atlantic  in  1914  and  was  reprinted  in 
Boston. 

With  the  Elizabethan  translation  I  have  paired  its  Italian 
original  in  all  cases  where  I  could  trace  it.  But  as  there  may  be 
several  Italian  editions,  besides  contemporary  translations  into 
Latin,  French,  or  Spanish,  without  actual  examination  of  books 


PREFACE 


xiii 


now  widely  scattered  and  often  inaccessible  together,  it  is 
not  possible  in  many  cases  to  say  just  what  version  was  the 
basis  of  the  translation.  The  Italian  Renaissance  travelled  into 
England  through  France  largely,  as  the  French  origin  of  some 
of  these  translations  shows.  There  are  Spanish  originals,  but 
the  French  versions  between  the  Italian  and  English  are  far 
and  away  the  most  important.  This  subject  has  been  ably 
treated  in  English  by  Sir  Sidney  Lee,  in  his  The  French  Renais^ 
same  in  England  (1910).  Because  it  lies  outside  the  scope  of 
these  Italian  studies,  I  have  not  permitted  myself  to  follow  its 
leading,  either  very  far  or  with  thoroughness.  M.  Jusserand 
suggested  that  I  mention  the  French  sources,  and  wherever  I 
could  indicate  the  French  medium  briefly  and  with  certainty 
I  have  done  so. 

It  would  be  a  pleasure,  which  I  must  here  deny  myself,  to 
thank  by  name  the  many  friends  who  have  helped  me  with 
criticism  and  suggestion.  For  the  use  of  many  English  books 
I  am  indebted  to  the  courtesy  of  the  librarians  of  Yale  Univer- 
sity and  of  the  Johns  Hopkins  University.  Miss  Josephine  A. 
Clark,  librarian  of  Smith  College,  has  been  generous  in  adding 
to  the  Elizabethan  books  in  the  Smith  College  Library,  as  far 
as  funds  were  available,  and  the  large  collection  of  books  of  the 
Forbes  Library,  of  Northampton,  has  always  been  freely  open 
to  me.  When  the  studies  were  in  preparation  for  publication 
by  the  Modern  Language  Association  of  America,  Provost 
Uhler  kindly  permitted  me  to  use  the  great  collection  of  books 
in  the  Romance  languages  owned  by  the  Peabody  Institute,  of 
Baltimore.  He  loaned  me  many  rare  books  on  his  own  recog- 
nizance. Mr.  G.  W.  Harris,  librarian  of  Cornell  University, 
let  me  use  the  very  fine  Italian  and  French  collections  at 
Cornell,  in  the  final  revision  that  I  was  making  during  the  sum- 
mer of  1914.  Harvard  University  loaned  me  its  1892  edition  of 
Galateo, 

I  received  much  valuable  criticism  from  my  friend  and  corre- 
spondent, the  late  Dr.  Richard  Garnett,  whose  admirable  little 
History  of  Italian  LiteraturCy  I  have  had  at  my  elbow.  Another 


XIV 


PREFACE 


helpful  English  correspondent  was  my  fellow  Dantean,  the  late 
Arthur  John  Butler,  professor  of  Italian  language  and  literature 
in  the  University  of  London.  M.  Jusserand,  the  French 
Ambassador  to  the  United  States,  and  greatest  French  scholar 
in  English,  illumined  with  wit  and  wisdom  not  a  few  obscure 
points  on  the  French  side  of  my  subject. 

Among  American  scholars  I  am  most  indebted  to  my  Yale 
mentor,  the  late  Professor  Thomas  R.  Lounsbury;  and  to 
Professor  Thomas  F.  Crane,  of  Cornell  University,  who  kindly 
shared  with  me  some  studies  he  had  made  on  the  Italian  cour- 
tesy books  of  the  sixteenth  century. 

Most  of  all  I  owe  to  that  prince  of  Elizabethan  scholars, 
Horace  Howard  Furness.  He  took  a  lively  interest  in  my  work 
and  early  let  me  know  that  I  could  command  any  of  the  books 
in  his  great  Shaksperean  library  that  he  was  not  actually  using 
himself.  From  time  to  time,  various  of  his  priceless  exemplars 
journeyed  to  and  fro  between  Wallingford  and  Northampton. 
In  1899,  he  delayed  the  publication  of  the  Variorum  Much  Ado 
About  Nothing y  in  order  to  include  in  it,  as  the  very  last  note, 
my  suggestion  that  Shakspere  may  have  found  his  fascinating 
lovers.  Benedick  and  Beatrice,  in  Sir  Thomas  Hoby's  transla- 
tion of  II  Cortegiano, 

I  sent  my  second  study,  on  Translations  of  Poetry,  Plays,  and 
Metrical  Romances,  to  the  Reverend  Alexander  B.  Grosart, 
whose  edition  of  Robert  Chester's  Loues  Martyr:  or  Rosalins 
Complaint,  for  The  New  Shakspere  Society,  in  1878,  had  been 
of  use  to  me  in  my  notes  on  that  curious  and  interesting  poem. 
A  considerable  time  afterwards  there  came  to  me  the  Shakspere 
edition  of  Loues  Martyr,  bearing  with  it  a  pungent  tang  of  the 
sea,  and  a  letter  making  some  inquiries  about  Northampton, 
where  Dr.  Grosart  had  made  a  pleasant  visit  as  a  young  man 
just  out  of  college.  I  delayed  acknowledging  the  receipt  of  the 
book,  until  I  could  answer  the  inquiries,  which  proved  to  be 
difficult  for  one  not  a  native  of  the  town.  Before  my  letter  to 
Dr.  Grosart  got  written,  news  came  of  his  death,  in  March, 
1899.  And  so  it  happened  that  to  the  Elizabethan  political  and 


PREFACE 


XV 


social  mystery  of  Loues  Martyr  there  has  been  added,  for  me, 
the  insoluble  pathos  of  my  possession  of  its  Victorian  reprint. 
But  the  friendly  spirit  of  scholarship  transcends  the  person- 
ality of  individuals  and  the  accidents  of  time.  I  make  this 
acknowledgment  to  scholars  of  1916  in  memory  of  one  of  us 
whose  torch  was  extinguished  in  1899. 

The  Italianization  of  Elizabethan  literature  is  a  large  field, 
and  all  Elizabethan  books  are  rare,  only  to  be  found  in  the 
British  Museum  or  at  Bodley's,  or  in  unique  private  collections, 
like  the  Ellesmere.  In  all  cases  where  it  was  possible,  I  have 
personally  verified  my  statements,  from  exemplars,  from  re- 
prints, and  from  historical  and  critical  literature.  I  have  tried 
to  avoid  errors,  but  the  circumstances  make  it  practically  im- 
possible that  I  have  succeeded  wholly. 

I  do  not  list  the  many  authorities  that  have  helped  me  to 
annotate  these  Elizabethan  Translations  from  the  Italian.  All 
sources  of  information  are  given  in  the  notes,  and  the  notes  are 
carefully  indexed.  It  is  intended  that  the  index  should  serve 
as  a  bibliography  of  sources. 

In  course  of  time,  I  hope  to  publish  my  researches  on  the 
Italianate  English  plays.  That  was  my  original  quest,  and  it 
has  gone  on  'pari  passu  with  this  study  which  now  sees  the  light. 

Mary  Augusta  Scott. 

Smith  College, 
June  1,  1916. 


CONTENTS 


Index  of  Titles,  with  Translators    ....  xxi 

The  Italian  Renaissance  in  England  ....  xxxvii 

I.  Romances  in  Prose   1 

II.  Poetry   109 

III.  Plats   195 

IV.  Metrical  Romances   221 

V.  Religion  and  Theology   243 

VI.  Science  and  the  Arts   299 

VII.  Grammars  and  Dictionaries       ....  343 

VIII.  Collections  of  Proverbs   359 

IX.  Voyages  and  Discovery   369 

X.  History  and  Politics   391 

XI.  Manners  and  Morals   443 

XII.  Italian  and  Latin  Publications  in  England  .  483 

Index   517 


INDEX  OF  TITLES,  WITH  TRANSLATORS 


I.  ROMANCES  IN  PROSE 


1 

[1525] 

A  C.  mery  Talys 

[1549] 

Mery  Tales,   Wittie  Questions,  and 

QuickC  Answers 

3 

1550 

Lucres  and  Eurialus 

4 

1596 

Euryalus  and  Lucresia 

William  Braunche 

5 

1639  Eurialus  and  Lucretia 

Charles  Aleyn 

6 

1556 

Aurelio  and  Isabell 

7 

1557 

Circes 

Henry  Iden 

8 

1566 

The  Palace  of  Pleasure 

William  Painter 

9 

1566 

Philocopo 

H.  C. 

10 

1567 

Certaine  Tragicall  Discourses 

Geoffrey  Fenton 

11 

1568 

The  Flower  of  Friendshippe 

Edmund  Tilney 

12 

1571 

The  Foreste 

Thomas  Fortescue 

13 

1613-19  The  Treasurie  of  ancient  and  mod- 

erne  Times 

14 

1572 

A  hundreth  Sundrie  Flowres 

George  Gascoigne 

15 

1572 

Sir  Meliado 

16 

1573 

The  Garden  of  Pleasure 

James  Sandford 

17 

1574 

A  Right  Exelent  and  pleasaunt  Dialogue 

Barnabe  Rich 

18 

1575 

Arnalte  and  Lucenda 

Claudius  Holyband 

19 

[1576] 

A  Petite  Palace  of  Pettie  his  Pleasure 

George  Pettie 

20 

1576 

The  Rock  of  Regard 

George  Whetstone 

21 

1577 

Foure  Straunge  and  Lamentable  Tragi- 

call Histories 

Robert  Smyth 

22 

1578 

A   Courtlie   Controversie  of  Cupids 

Cautels 

Henry  Wotton 

23 

1578 

Tarltons  Tragical  Treatises 

Richard  Tarlton 

24 

1579 

The  Forrest  of  Fancy 

H.  C. 

25 

1580 

A  Posie  of  Gilloflowers 

Humfrey  Gifford 

26 

1580 

Bandello's  Novelle 

27 

1581 

Rich  his  Farewell  to  Militarie  Profes- 

sion 

Bamabe  Rich 

28 

1581 

Don  Simonides  a  Gentilman  Spaniarde 

Barnabe  Rich 

29 

1582 

An  Heptameron  of  Civill  Discourses 

George  Whetstone 

30 

1583 

Philotimus 

Brian  Melbancke 

XX     INDEX  OF  TITLES,  WITH  TRANSLATORS 


81 

1587 

The  Tragical!  historic  of  Romeus  and 

JuHet 

32 

1587 

Amorous  Fiammetta  * 

Bartholomew  Young 

33 

1587 

Banishment  of  Cupid 

Thomas  Hedley 

34 

1588 

Palmerin  d'  Oliva 

Anthony  Munday 

35 

1588 

Perimedes  the  Blaeke-Smith 

Robert  Greene 

36 

1590 

The  Cobler  of  Caunterburie 

37 

[1590] 

Tarltons  Newes  Out  of  Purgatone 

38 

1592 

Philomela 

Robert  Greene 

39 

1593 

The  Defence  of  Contraries 

Anthony  Munday 

40 

1593 

The  Life  and  Death  of  William  Long- 

beard 

Thomas  Lodge 

41 

1595 

Primaleon  of  Greece 

Anthony  Munday 

42 

1596 

Cent  Histoires  Tragiques                  Frangois  de  Belleforest 

43 

1596 

A  Margarite  of  America 

Thomas  Lodge 

44 

1597 

The  Queen  of  Navarres  Tales 

45 

1654 

Heptameron 

Robert  Codrington 

46 

1597 

Affrican  and  Mensola 

Jo.  Goubourne 

47 

1597 

The  Theatre  of  Gods  Judgements 

Thomas  Beard 

48 

1598 

Diana  of  George  of  Montemayor 

Bartholomew  Young 

49 

1596-1617  Diana  de  Montemayor 

Thomas  Wilson 

50 

1598 

Don  Bellianis 

L.  A. 

51 

1599 

The  Fountaine  of  Ancient  Fiction 

Richard  Lynche 

62 

1600 

The  Strange  Fortunes  of  Two  Excellent 

Princes 

Nicholas  Breton 

53 

1604 

Pasquils  Jests 

54 

1604 

Jack  of  Dover 

55 

1607 

The  Ancient,  True  and  Admirable  His- 

tory of  Patient  Grissel 

56 

1607 

Admirable  and  memorable  Histories 

Ed.  Grimeston 

57 

1607 

A  World  of  Wonders 

R.  C. 

58 

1607 

The  Pleasant  Conceites  of  Old  Hobson 

Richard  Johnson 

59 

1608 

The  Hystorie  of  Hamblet 

60 

1609 

Certaine  Conceyts  and  Jeasts 

61 

1617 

Merry  Tales  concerning  Popes,  Monkes, 

and  Friers 

R.  W. 

62 

1620 

Decameron 

63 

1620 

Westward  for  Smelts                      Kinde  Kit  of  Kingston 

64 

1628 

Hipolito  and  Isabella 

65 

1628 

The  Powerfull  Favorite 

66 

1632 

Unhappy  Prosperitie 

Sir  Thomas  Hawkins 

67 

1630 

The  Merry  Tales  of  the  Mad  Men  of 

Gottam 


INDEX  OF  TITLES,  WITH  TRANSLATORS  xxi 


68 

1630 

Wit  and  Mirth                      John  Taylor,  the  Water  Foe\ 

69 

1632 

The  Fortunate,  the  Deceived,  and  the 

Unfortunate  Lovers 

70 

1632 

Eromena 

James  Hayward 

71 

1635 

Donzella  desterrada 

James  Hayward 

72 

1655 

Coralbo 

A.  G. 

73 

1635 

The  Arcadian  Princesse 

Richard  Brathwaite 

74 

1640 

The  Sack-Full  of  News 

75 

1647 

The  Divell  a  married  man 

76 

1652 

Choice  Novels  and  Amorous  Tales 

77 

1653 

Nissena 

78 

1654 

Dianea 

Sir  Aston  Cokayne 

79 

1660 

Arnaldo,  or  the  Injur'd  Lover 

T.  S. 

11.  POETRY 

80 

1560 

The  Zodyake  of  Lyfe 

Barnabe  Googe 

81 

[1565?] 

The  Tryumphes  of  Petrarch 

Henry  Parker,  Lord  Morley  and  Mount-Eagic 

82 

1567 

The  Eglogs  [of  Baptist  Mantuan] 

George  TurbervUle 

83 

1576 

The  Schoolemaster 

Thomas  Twyne 

84 

[1581] 

The  Hecatompathia  or  Passionate  Cen- 

turie  of  Love 

Thomas  Watson 

85 

1585 

Amyntas 

Thomas  Watson 

86 

1586 

Albion's  England 

William  Warner 

87 

1587 

The  Lamentations  of  Amyntas 

Abraham  Fraunce 

88 

1588 

Musica  Transalpina 

Nicholas  Yonge 

89 

1590 

Italian  Madrigalls 

Thomas  Watson 

90 

1591 

Orlando  Furioso 

Sir  John  Harington 

91 

1591 

The  Countess  of  Pembroke's  Ivychurch 

Abraham  Fraunce 

92 

1591 

Complaints 

Edmund  Spenser 

93 

1592 

Amintae  Gaudia 

Thomas  Watson 

94 

1594 

Godfrey  of  Bulloigne 

Richard  Carew 

95 

1594 

Madrigalles  to  four  Voyces 

Thomas  Morley 

96 

1595 

The  First  Booke  of  Balletts 

Thomas  Morley 

97 

1595 

The  First  Booke  of  Canzonets 

Thomas  Morley 

98 

1596 

Diella 

Richard  Lynche 

99 

1597 

Canzonets 

Thomas  Morley 

100 

1597 

Laura.  The  Toyes  of  a  Traueller 

Robert  Tofte 

101 

1597 

Madrigals  to  three,  four,  five  or  six 

Voyces 

Thomas  Weelkes 

102 

1597 

Two  Tales 

Robert  Tofte 

103 

1597 

Certaine  Worthye  Manuscript  Poems 

J.  S. 

xxii    INDEX  OF  TITLES,  WITH  TRANSLATORS 


104 

1598 

Orlando  Inamorato 

Robert  Tofte 

105 

1598 

Madrigals  to  Five  Voices 

Thomas  Morley 

106 

1598 

The  Courtiers  Academic 

John  Kepers 

107 

1598 

The  First  Set  of  English  Madrigals 

John  Wilbye 

108 

1599 

Mariage  and  Wiving 

Robert  Tofte 

109 

1600 

Godfrey  of  Bulloigne 

Edward  Fairfax 

110 

1600 

Second  Book  of  Songs  or  Airs 

John  Dowland 

111 

1601 

Madrigales.  The  Triumphes  of  Oriana 

Thomas  Morley 

112 

1601 

Loues  Martyr 

Robert  Chester 

113 

1602 

A  Poetical  Rapsody 

Francis  Davison 

114 

1607 

Rodomonths  Infernal] 

Gervase  Markham 

115 

1607 

The  Englishmans  Doctor 

Sir  John  Harington 

116 

1608 

Ariosto's  Satires 

Robert  Tofte 

117 

1608 

Musica  Sacra 

R.  H. 

118 

1608 

Ayres  or  Phantasticke  Spirites 

Thomas  Weelkes 

119 

1609 

The  Famous  Whore 

Gervase  Markham 

120 

1609 

The  Second  Set  of  Madrigales 

John  Wilbye 

121 

1609 

A  Musical  Dreame 

Robert  Jones 

122 

1610 

A  Musical  Banquet 

Robert  Dowland 

123 

1611 

The  Tragicall  Death  of  Sophonisba 

Sir  David  Murray,  of  Gorthy 

124 

1612 

Petrarch's  Seven  Penitential  Psalms 

George  Chapman 

125 

1613 

The  First  Set  of  English  Madrigals 

John  Ward 

126 

1615 

The  Blazon  of  Jealousie 

Robert  Tofte 

127 

1616 

Poems 

William  Drummond 

128 

1620 

The  Maidens  Blush 

Joshua  Sylvester 

129 

1623 

The  Whole  Workes  of  Samuel  Daniel 

130 

1638 

The  Tragedie  of  Alceste  and  Eliza 

Fr.  Br.  Gent. 

131 

1644 

The  Triumphs  of  Petrarch 

Anna  Hume 

132 

1646 

Steps  to  the  Temple 

Richard  Crashaw 

133 

1647 

Poems  and  Translations 

Thomas  Stanley 

134 

1652 

Catch  that  Catch  Can 

John  Hilton 

135 

1658 

A  Prospective  of  the  Naval  Triumph, 

etc. 

Thomas  Higgoris 

136 

1661 

A  Survey  of  the  World 

Barten  Holyday 

m.  PLAYS 


137  [1572]  Supposes 

138  [1572]  Jocasta 

139  1578  Promos  and  Cassandra 

140  [1584?]  Fidele  and  Fortuna 


George  Gascoigne 
(  George  Gascoigne 
(  Francis  Kinwelmarsh 
George  Whetstone 
Anthony  Munday 


INDEX  OF  TITLES,  WITH  TRANSLATORS  xxiii 


141 

[1589?] 

Freewyl 

Henry  Cheke 

142 

1602 

11  Pastor  Fido 

'  Dymock 

143 

1610 

Honours  Academic 

Robert  Tofte 

144 

1615 

Albumazar                            Thomas  Tomkis,  or  Tomkys 

145 

1628 

Aminta 

Henry  Reynolds 

146 

1630 

Ignoramus 

George  Ruggle 

147 

1632 

Roxana 

William  Alabaster 

148 

1636 

Labyrinthus 

Walter  Hawkesworth 

149 

1637 

Pleasant  Dialogues 

Thomas  Heywood 

150 

1647-48 

Tl  Pastor  Fido 

Oil  XVlCUaru  J^UDSHaWc 

151 

1655 

Filli  di  Sciro 

J.  s. 

152 

1658 

Trappolin  Suppos'd  a  Prince 

Sir  Aston  Cokayne 

153 

1658 

La  Fida  Pastora 

Sir  Richard  Fanshawe 

154 

1660 

Aminta 

John  Dancer 

155 

1897-98 

The  Buggbears 

Johannes  JeflFere 

156 

1906 

Victoria 

Abraham  Fraunce 

157 

1909 

Hymenaeus 

158 

1910 

Laelia 

IV.  IMETRICAL  ROMANCES 

159 

1555 

Dares 

John  Lydgate 

160 

1562 

Romeus  and  Juliet 

Arthur  Broke 

161 

1562 

Titus  and  Gisippus 

Edward  Lewicke 

162 

1565 

The  Historic  of  John  Lord  Mandozze 

Thomas  de  la  Peend 

163 

[1565-66?]  Ariodanto  and  Jeneura 

Peter  Beverley 

164 

1569 

Nastagio  and  Traversari 

Christopher  Tye 

165 

[1570?] 

The  Crueltie  of  a  Wydowe 

John  Goubourne 

166 

[1570?] 

Cymon  and  Iphigenia 

T.  C. 

167 

1570 

Gaulfrido  and  Bamardo 

John  Drout 

168 

1576 

Violenta  and  Didaco 

Thomas  Achelley 

169 

1576 

Tragical  Tales 

George  Turberville 

170 

1609 

The  Italian  Taylor  and  his  Boy 

Robert  Armin 

171 

1639 

Amalte  and  Lucenda 

Leonard  Lawrence 

172 

1640 

Patient  Grisel 

V.  RELIGION  AND  THEOLOGY 

173 

1547 

Five  Sermons  by  Bernardino  Ochino 

174 

1548 

Sermons  of  the  ryght  famous  Master 

Bernardine  Ochine 

175 

1549 

A  Tragedie  or  Dialoge  of  the  Primacie 

of  the  Bishop  of  Rome 

John  Ponet  (Poynet) 

xxiv   INDEX  OF  TITLES,  WITH  TRANSLATORS 


176  [1550?]    A  discourse  or  traictise  of  Peter  Martyr 

Vermill  Nicholas  Udall 

177  [1550?]    Certayne  Sermons  by  Bernardino  Ochino 

178  [1550?]    Fouretene     Sermons    by  Bernardino 

Ochino  Anne  Cooke 

179  1550      The  Alcaron  of  the  Barefote  Friers 

180  1550      An  Epistle  [from  Peter  Martyr  to  the 

Duke  of  Somerset]  Thomas  Norton 

181  1550      An  Epistle  of  the  famous  Doctour  Ma- 

thewe  Gribalde  Edward  Aglionby 

182  1564      Most  fruitfull  and  learned  Commenta- 

ries [on  the  Book  of  Judges] 

183  [1566]      Pasquine  in  a  Traunce  William  Phiston  (Fiston) 

184  1568      The  Fearfull  Fansies  of  the  Florentine 

Couper  William  Barker  (Bercher) 

185  1568      Most  learned  and  fruitfull  Commenta- 

ries [on  the  Romans]  Henri  Bullinger 

186  1569      Most  Godly  Prayers  Charles  Glemhan 

187  1576      The  Droomme  of  Doomes  Day  George  Gascoigne 

188  1576      The  Mirror  of  Mans  Lyfe  Henry  Kerton 

189  1576      An  Epistle  for  the  godly  Bringing  up  of 

Children  W.  L.  P. 

190  1576      A  brief  Exposition  of  the  XH  Articles 

of  our  Fayth  T.  P. 

191  [1580?]    A  brief  Treatise  concernmg  the  use  and 

abuse  of  Dauncing  I.  K.  or  T.  K. 

192  1580      Certaine  Godly  and  very  profitable  ser- 

mons William  Phiston  (Fiston) 

193  1583      The  Common  Places  of  Doctor  Peter 

Martyr  Anthony  Martin 

194  1584      The  contempte  of  the  world  and  the 

vanitie  thereof  G.  C. 

195  ^  1585      A  Letter  lately  written  from  Rome,  etc.  John  Florio 

196  [1600?]    How  to  meditate  the  Misteries  of  the 

Rosarie  John  Fenn 

197  1606      A  full  and  satisfactorie  answer  [to  Pope 

Paul  V] 

198  1606      A  Declaration  of  the  Variance  [between 

Pope  Paul  V  and  the  Venetians] 

199  1606      Meditations  uppon  the  Passion 

200  1608      A  true  copie  of  the  Sentence  of  the  high 

Councell  of  tenne 

201  1608      Newes  from  Italy  of  a  second  Moses      William  Crashaw 


INDEX  OF  TITLES,  WITH  TRANSLATORS  xxv 


202 

1608 

The  History  of  our  B.  Lady  of  Loreto 

Thomas  Price 

203 

[1608?] 

The  Life  of  the  blessed  Virgin  St.  Cath- 

erine of  Sienna 

John  Fenn 

204 

[1609] 

Flos  Sanctorum.  The  Lives  of  the  Saints  Edward  Kinsman 

205 

[1615?] 

Certaine  devout  considerations  of  fre- 

quenting the  Blessed  Sacrament 

J.  G. 

206 

[Before  1615]  A  Treatise  of  Tribulation 

John  Fenn 

207 

1616 

A  manifestation  of  the  motives  [of  IVI.  A. 

de  Dominis] 

208 

1617 

A  Sermon  preached  the  first  Sunday  in 

Advent  [by  M.  A.  de  Dominis] 

209 

1618 

The  rockes  of  Christian  Shipwracke 

210 

1619 

The  life  of  the  Holy  Mother  Suor  Maria 

Maddalena  de  Patsi 

G.  B. 

211 

1620 

The  Historic  of  the  Councel  of  Trent 

Sir  Nathaniel  Brent 

212 

1620 

A  Relation  of  the  Death  of  the  most 

illustrious  Lord  Sig'  Troilo  Sauelli 

213 

1620 

Good  News  to  Christendome 

214 

1621 

The  Treasure  of  Vowed  Chastity 

J.  W. 

215 

1623 

M!.  A.  de  Dominis  declares  the  cause  of 

ni«!  TJptiiTTiP  nut  nf  T^.Ticrlnnrl 

216 

1624 

The  Psalter  of  Jesus 

John  Heigham 

217 

1625 

The  Prpp  Sphnnl  nf  Wnrr<» 

W.  B. 

218 

1626 

The  History  of  the  quarrels  of  Pope 

Paul  V.  with  the  State  of  Venice 

Christopher  Potter 

219 

1626 

The  Seaven  Trumpets  of  Brother  B. 

Saluthius  [of  the  Order  of  St.  Francis] 

G.  P. 

220 

1627 

The  Life  of  B.  Aloysius  Gonzaga 

R.  S. 

221 

1628 

A  discourse  upon  the  Reasons  of  the 

Resolution,  etc. 

Sir  Thomas  Roe 

222 

1632 

Fuga  Saeculi,  or  the  Holy  Hatred  of  the 

World 

Henry  Hawkins 

223 

1632 

The  Admirable  Life  of  S.  Francis  Xavier 

Thomas  Fitzherbert 

224 

1635 

Paraphrase  upon  the  seaven  Penitentiall 

Psalms 

John  Hawkins 

225 

1638 

The  Hundred  and  Ten  Considerations  of 

Signior  J.  Valdesso 

Nicholas  Ferrar 

226 

1644 

St.  Paul's  Late  Progress  upon  Earth 

James  Howell 

227 

1648 

Satan's  Stratagems 

228 

1651 

The  Life  of  the  most  Learned  Father 

Paul 

229 

1657 

A  Dialogue  of  Polygamy 

230 

1855  [1548,  MS.]  The  Benefit  of  Christ's  Death 

Edward  Courtenay,  Earl  of  Devonshire 


xxvi     INDEX  OF  TITLES,  WITH  TRANSLATORS 


VI.   SCIENCE  AND  THE  ARTS 


5631 

t  SAO 

154J 

The  most  excellent  workes  of  chirurgerye 

[of  Giovanni  da  Vigo]                  Bartholomew  Traheron 

acta 

1548 

Ihe  Secretes  of  the  reverende  maister 

Alexis  of  Piemount 

Wimam  Wards 

233 

[1560;  J 

The  arte  of  rydmg  and  of  breakmge 

greate  Horses 

Thomas  Blundeville 

234 

1560 

The  Arte  of  Warre 

Peter  Whitehorne 

acts 

1  saa 

Ine  Castel  of  Memorie 

WlUiam  Fullwood 

236 

1562 

The  pleasamit  and  wittie  playe  of  the 

Cneasts  [LnessJ 

James  Kowbothum 

Xoi 

Ludus  Scacchise:  Chesse-play 

G.  B. 

XOO 

lODO 

Onosandro  Platonico,  of  the  General! 

Captaine  and  of  his  oflSce 

Peter  Whitehorne 

XOif 

lODO 

Chirurgia  parua  Lanfranci 

John  HaU  (HaUe) 

1574 

A  Direction  for  the  Health  of  Magis- 

trates 

Thomas  Newton 

10/4! 

Most  briefe  tables 

H.  G. 

242 

1575 

The  Book  of  Fatdconrie 

George  Turberville 

364o 

[157yj 

A  Joyfull  Jewell.  Contayning  .  .  .  pre- 

servatives ...  for  the  Plague 

Thomas  Hill 

244 

1580 

A  short  discours  uppon  chirm-gerie 

John  Hester 

245 

1582 

A  Compendium  of  the  rational!  Secretes  John  Hester 

OA  a 
XW 

1584 

The  Art  of  Riding  ["out  of  Xenophon 

and  Gryson,"  i.e.,  Federico  Grisone] 

John  Astley 

247 

1584 

The  Art  of  Riding  [by  Claudio  Corte] 

Thomas  Bedingfield 

248 

1586 

Naturall  and  Artificial!  Conclusions 

Thomas  Hill 

249 

1588 

Three  Bookes  of  Colloquies  concerning 

the  Arte  of  Shooting 

Cyprian  Lucar 

250 

1588 

[11  Padre  di  Famiglia]  The  Householders 

Philosophic  * 

Thomas  Kyd 

251 

1592 

Hypnerotomachia.  The  Strife  of  Love 

in  a  Dreame 

252 

1594 

G.  de  Grassi  his  true  Arte  of  Defence 

I.  G. 

253 

1594 

Examen  de  Ingenios.    The  Examina- 

tion of  Mens  Wits 

Richard  Carew 

254 

1595 

A  most  strange  and  wonderful!  prophesie 

Anthony  Holloway 

255 

1596 

A  Booke  of  Secrets 

WilHam  Philip 

256 

1598 

Epulario,  or  the  Italian  Banquet 

257 

1598 

A  Tracte  containing  the  Artes  of  curious 

Paintinge,  Carvinge,  &  Buildinge 

Richard  Haydocke 

INDEX  OF  TITLES,  WITH  TRANSLATORS  xxvii 


1  R()9 

J.  lit;  xiicuxii^uco  Ul  LJ-ic  ocvcii  X  idiicta 

XilUlLLcla  JJilUIllcVJXlC 

XOif 

[lUUUj 

i^cWciS  ilUILl  rvUIIlC  Ol  two  IIllgllLj'  dlllllca 

w  w 

260 

1611 

The  first  ( —  thp  fift'i  honlcp  of  Arrhi- 

X  lie    lil  o  L    ^          tllC    LilLJ    UkJKJJSSZ    Ul    Ai.1  Clll* 

tccture 

9^1 
XOl 

V^piUlUgid,  Ol   a   XlcdLlSC  COIICci  lllXlg  LllC 

lldLLllC  dllO.   UoC  Ol  Vy^Jllllll 

1622 

X  11^  X  LdilXdjlX  X  X  L/ll^^^l^l 

XiVO 

XVCVcldLlOil    Ol     tllC    iSCClCl-    opillL  [dl" 

chemy] 

Robert  Napier 

264 

1624 

A  Strange  and  Wonderful!  Prognosti- 

cation 

265 

1634 

Hygiasticon:  or  the  right  course  of  pre- 

serving Life  and  Health 

Timothy  Smith 

266 

1638 

A  Learned  Treatise  of  Globes 

John  Chilmead 

267 

1658 

Natural  Magick 

VII.  GRAMMARS  AND  DICTIONARIES 

z>uo 

lOOKf 

Principal  Rules  of  the  Italian  Grammer  William  Thomas 

OfiCk 

lODo 

The  Enimie  of  Idlenesse 

William  Fullwood 

iOiO 

An  Italian  Grammer 

Henry  Granthan 

X/ 1 

1  ^;7ft 

Florio  his  first  Frutes 

John  Florio 

9'7<9 

1  f;7ft 

lO  to 

A  comfortable  ayde  for  Schollers 

David  Rowland 

XIO 

1  fift^ 

Campo  di  Fior,  or  else  The  Flourie  Field 

of  Foore  Languages 

Claudius  Hollyband- 

Xt'Jl 

1  fiftft 

The  Arcadian  Rhetorike 

Xl  0 

loyi 

Florios  Second  Frutes 

John  Florio 

276 

1597 

The  Italian  Schoole-maister 

Claudius  Hollyband 

277 

1598 

A  Worlde  of  Wordes 

John  Florio 

278 

1612 

The  Passenger 

Benvenuto 

279 

1639 

New  and  Easie  Directions  for  Attaining 

the  Thuscan  Italian  Tongue 

Giovanni  Torriano 

280 

1640 

The  Italian  Tutor 

Giovanni  Torriano 

281 

1660 

Lexicon  Tetraglotton 

James  Howell 

Vm.  COLLECTIONS  OF  PROVERBS 

282  [1584?]    The  booke  of  prittie  conceites 

283  1584      The  Welspring  of  wittie  Conceites     William  Phiston  (Fiston) 

284  1590      The  Quintessence  of  Wit  Robert  Hitchcock 

285  1590      The  Royal  Exchange  Robert  Greene 

286  1613       Civill  and  Militarie  Aphorismes  Sir  Robert  Dallington 

287  1633      Bibliotheca  scholastica  instructissima, 

Or,  Treasurie  of  Ancient  Adagies     Thomas  Draxe 


xxviii    INDEX  OF  TITLES,  WITH  TRANSLATORS 


288 

1642 

Select  Italian  Proverbs 

Giovanni  Torriano 

289 

1659 

Proverbs  English,  French,  Dutch,  Ital- 

ian, and  Spanish 

N.  R. 

290 

1660 

Choice  Proverbs  and  Dialogues  in  Ital- 

ian and  English 

P.  P. 

291 

1666 

Piazza  Universale  di  Proverbi  Italiani: 

Or  a  Common  Place  of  Italian  Pro- 

verbs 

Giovanni  Torriano 

IX.  VOYAGES  AND  DISCOVERY 

292 

1555 

The  [three]  Decades  of  the  newe  worlde 

or  west  India 

293 

1577  History  of  Trauayle  in  the  West  and 

East  Indies 

xvicnara  vv  iiies 

294 

1577  Of  theViagesof .  .  .  S[ebastian]  C.[abot] 

295 

1577  Certaine  reportes  of  the  province  of 

China 

296 

1577  The  Travels  of  Lewes  Vertomannus 

XViCllcllU  il/U.CJLl 

297 

1612  De  Nouo  Orbe,  or  The  Historic  of  the 

west  Indies 

iviicnaei  IjOK 

298 

1580 

A  Shorte  and  briefe  narration  of  the  Two 

Navigations 

John  rlorio 

299 

1582 

Divers  voyages  touching  the  discoverie 

of  America 

Richard  xiakluyt 

300 

1582 

Discoverie  of  the  isles  of  Frisland 

301 

1582 

Relation  of  J.  Verrazano  of  the  land 

discovered  by  him 

302 

1588 

The  Voyage  and  Travaile  of  M.  C. 

Frederick 

Thomas  Hickock 

303 

1589 

Principall  Navigations,  Voiages  and  Dis- 

coveries of  the  English  nation 

Richard  Hakluyt 

304 

1597 

A  Reporte  of  the  Kingdome  of  Congo 

Abraham  Hartwell 

305 

1600 

A  Geographical  Historic  of  Africa 

John  Pory 

306 

1601 

The  Travellers  Breviat 

Robert  Johnson 

307 

1603 

The  Ottoman  of  Lazaro  Soranzo 

Abraham  Hartwell 

308 

1608 

Relations  of  the  most  famous  Kingdoms 

and  Commonweales 

Robert  Johnson 

309 

1625 

Purchas  his  Pilgrimes 

Samuel  Purchas 

310 

1625  Indian  Observations  gathered  out  of  the 

letters  of  N.  P.  [Nicol6  Pimenta] 

311 

1625  The  first  Booke  of  ...  M.  P.  [Marco 

Polo] ...  his  Voyages 


INDEX  OF  TITLES,  WITH  TRANSLATORS  xxix 


312  1625  A  discourse  of  the  Kingdome  of  China 

313  1633      Cochinchina  Robert  Ashley 

314  1873      Travels  to  Tana  and  Persia  by  Josafa 

Barbaro  and  Ambrogio  Contarini       William  Thomas 


X.  HISTORY  AND  POLITICS 

315  [1550?]  History  of  Herodian  Nicholas  Smyth 

316  1562  Two  very  notable  Commentaries  John  Shute 

317  1563  The  Historic  of  Leonard  Aretine  Arthur  Golding 

318  [1570]  A  very  briefe  and  prolStable  Treatise      Thomas  Blundeville 

319  1572  The  True  Report  of  all  the  Successe  of 

Famagosta  William  Malim  (Malin) 

320  1574      The  True  order  and  Methode  of  wryting 

and  reading  Hystories  Thomas  Blundeville 

321  1575       A  Notable  Historye  of  the  Saracens        Thomas  Newton 

322  1576      A  Moral  Methode  of  civile  Policie         Richard  Robinson 

323  1579      The  Historic  of  Guicciardin  Sir  Geoffrey  Fenton 

324  1579      The  Lives  of  the  Noble  Grecians  and 

Romans  Sir  Thomas  North 

325  1582      The  Revelation  of  S.  John  James  Sandford 

326  [1584]      The  Preface  of  J.  Brocard  upon  the 

Revelation  James  Sandford 

327  1590      A  Discourse  conceminge  the  Spanishe 

fleete  invadinge  Englande  Robert  Adams 

328  1593      The  Description  of  the  Low  countreys    Thomas  Danett 

329  1595      The  Florentine  Historic  Thomas  Bedingfield 

330  1595      Two  Discourses  of  Master  Frances  Guic- 

ciardin  W.  I. 

331  1595      The  History  of  the  Warres  betweene  the 

Turks  and  the  Persians  Abraham  Hartwell 

332  1595      The  Estate  of  the  Germaine  Empire       William  Phiston 

333  1599      The  Commonwealth  and  Government 

of  Venice  Sir  Lewis  Lewkenor 

334  1600      The  Historic  of  the  uniting  of  the  King- 

dom of  Portugall  to  the  Crowne  of 

Castill  Edward  Blount 

335  1600      The  Mahumetane  or  Turkish  Hystorye  Ralph  Carr 

336  1601       CiviU  Considerations  W.  T. 

337  1604      The  Historic  of  all  the  Roman  Emperors  W.  Traheron 

338  1606      A  Treatise  concerning  the  Magnificencie 

and  Greatness  of  Cities  Robert  Peterson 

339  1623      The  Pope's  Letter  (20  April,  1623)  to 

the  Prince  [Charles] 


XXX     INDEX  OF  TITLES,  WITH  TRANSLATORS 


340  1626      The  New-Found  Politick  Sir  William  Vaughan 

341  1636       Machiavel's  Discourses  upon  the  first 

decade  of  T.  Livius  Edward  Dacres 

342  1637      Romulus  and  Tarquin        Henry  Carey,  Earl  of  Monmouth 

343  1639       The  History  of  the  Inquisition  Robert  Gentilis 

344  1640       Nicholas  Machiavel's  Prince  Edward  Dacres 

345  1641       An  History  of  the  Ciuill  Warres  of  Eng- 

land Henry  Carey,  Earl  of  Monmouth 

346  1642      Discourses  upon  Cornelius  Tacitus         Sir  Richard  Baker 

347  1647      The  Pourtract  of  the  Politicke  Christian- 

Favourite 

348  1647      II  Dauide  Perseguitato:  David  Perse- 

cuted Robert  Ashley 

349  1647      The  Chief e  Events  of  the  Monarchic  of 

Spaine  Robert  Gentilis 

350  1647      The  Historic  of  the  Civil  Warres  of 

France  William  Aylesbury 

351  1648      A  Venice  Looking-Glass  James  Howell 

352  1650       Considerations  upon  the  lives  of  Alei- 

biades  and  Corialanus  [sic]  Robert  Gentilis 

353  1650-52  An  Exact  Historic  of  the  late  Revolu- 

tions in  Naples  James  Howell 

354  1650      The  History  of  the  rites,  customes  and 

manner  of  life  of  the  present  Jews       Edmund  Chilmead 

355  1650      De  Bello  Belgico.  The  History  of  the 

Low-Countrey  Warres    Sir  Robert  Stapleton  (Stapylton) 

356  1651       Stoa  Triumphans  Thomas  Powell 

357  1652      Historicall  Relations  of  the  United  Pro- 

vinces Henry  Carey,  Earl  of  Monmouth 

358  1653      The  Scarlet  Gown  Henry  Cogan 

359  1654  The  Court  of  Rome  Henry  Cogan 

360  1654      The  Compleat  History  of  the  Warrs  of 

Flanders  Henry  Carey,  Earl  of  Monmouth 

361  1654      A  Discourse  touching  the  Spanish  Mon- 

archy Edmund  Chilmead 

362  1654      Parthenopoeia  or  the  history  of  the  .  .  . 

Kingdom  of  Naples  James  Howell 

363  1656      I  Ragguagli  di  Pamaso:  or  Advertise- 

ments from  Parnassus     Henry  Carey,  Earl  of  Monmouth 

364  1656       The  Siege  of  Antwerp  Thomas  Lancaster 

365  1657       Political  Discourses  Henry  Carey,  Earl  of  Monmouth 

366  1658       The  History  of  Venice        Henry  Carey,  Earl  of  Monmouth 

367  [1660?]    Campanella's  Universal  Monarchy  of 

the  World  Edmund  Chilmead  i 


INDEX  OF  TITLES,  WITH  TRANSLATORS  xxxi 


368 

1663 

History  of  the  Wars  of  Italy 

> 

Henry  Carey,  Earl  of  Monmouth 

1664 

A  new  Relation  of  Rome 

Giovanni  Torriano 

370 

1664 

Rome  exactly  described 

Giovanni  Torriano 

371 

1676 

The  History  of  France 

William  Brent 

XI.  IMANNERS  AND  MORALS 

372 

1561 

The  Courtyer  of  Count  Baldessar  Cas- 

tillo 

Sir  Thomas  Hoby 

373 

[1565] 

The  boke  of  Wisdome 

John  Larke 

374 

1570 

The  Morall  Philosophic  of  Doni 

Sir  Thomas  North 

375 

1573 

Cardanus  Comforte 

Thomas  Bedingfield 

376 

1575 

Golden  Epistles 

Sir  Geoffrey  Fenton 

377 

1576 

Galateo  of  Maister  John  della  Casa 

Robert  Peterson 

378 

1616 

The  Rich  Cabinet 

379 

1663  The  Refin'd  Courtier 

N.  W. 

380 

1577 

The  Court  of  Civill  Courtesie 

S.  R. 

381 

1579 

Physicke  against  Fortune 

Thomas  Twyne 

382 

1585 

The  Worthy  Tract  of  Paulus  lovius 

Samuel  Daniel 

383 

1586 

The  ciuile  Conversation  of  M.  Stephen 

Guazzo 

Bartholomew  Young 

384 

1586 

A  choice  of  Emblemes 

Geffrey  Whitney 

385 

1595 

Nennio,  Or  A  Treatise  of  Nobility 

William  Jones 

386 

1598 

Hecatonphila.  The  Arte  of  Loue 

387 

1600 

The  Hospitall  of  Incurable  Fooles 

Edward  Blount 

388 

1603 

A  Dialogue  full  of  pithe  and  pleasure 

Nicholas  Breton 

389 

1605 

The  Dumbe  Divine  Speaker 

A.  M. 

390 

1606 

A  discourse  of  Civill  Life 

Lodowick  Bryskett 

391 

[1606] 

Problemes  of  Beautie 

Samson  Lennard 

392 

1607 

Ars  Aulica  or  the  Courtiers  Arte 

Edward  Blount 

393 

1637 

Curiosities:  or  the  Cabinet  of  Nature 

R.  Basset 

394 

1904-05  The  Nobility  of  Women               William  Barker  (Bercher) 

XII.  ITALIAN  AND  LATIN  PUBLICATIONS  IN 
ENGLAND 

Italian  (1552-1645) 

395  1552      II  Pellegrino  Inglese  William  Thomas 

396  [1553?]    Cathechismo  Michael  Angelo  Florio 

397  1566      Espositione  .  .  .  sopra  un  libro  intitolato 

Apocalypsis,  etc.  Giovanni  Battista  Agnello 

398  [1580?]    Una  essortazione  al  Timor  di  Dio    Jacopo  Aconcio  (Concio) 


xxxii    INDEX  OF  TITLES,  WITH  TRANSLATORS 


399 

1S81 

La  Vita  di  Carlo  Magno  Imperadore 

Petruccio  Ubaldini 

400 

1581 

Proverbi  vulgari,  raccolti  in  diversi 

luoghi  d'  Italia 

Charles  Merbury 

401 

1584 

La  Cena  de  le  Ceneri 

Giordano  Bruno 

402 

1584 

Dell'  Infinito  Universo  e  Mondi 

Giordano  Bruno 

403 

1584 

De  la  Causa,  Principio,  et  Uno 

Giordano  Bruno 

404 

1584 

Spaccia  de  le  Bestia  Trionfante 

Giordano  Bruno 

405 

1584 

Atto  della  Guistitia  d'  Inghilterra 

William  Cecil 

406 

1585 

De  Gl'  Heroici  Furore 

Giordano  Bruno 

407 

1585 

Cabala  del  Cavallo  Pegaseo 

Giordano  Bruno 

408 

1585 

-  Dichiaratione  della  Caggioni,  etc. 

William  Cecil 

409 

1585 

La  Vita  di  Giulio  Agrieola               Giovanni  Maria  Manelli 

410 

1587 

Examine  di  varii  Giudicii .  .  .  de  i  Pro- 

testanti  veri  e  de  i  Cattolici  Romani 

411 

1591 

11  Pastor  Fido,  and  Aminta 

G.  B.  Guarini  and  Torquato  Tasso 

412 

1591 

?  Le  Vite  delle  Donne  Illustri 

Petruccio  Ubaldini 

413 

1591 

Giardino  di  Ricreatione 

Giovanni  Florio 

414 

1592 

Parte  prima  delle  brevi  Dimonstrationi 

et  Precetti 

Petruccio  Ubaldini 

415 

1594 

Lo  Stato  delle  Tre  Corti 

Petruccio  Ubaldini 

416 

1595 

Di  Tomaso  Morlei  11  prime  libro  delle 

Ballete  a  Cinque  Voci 

417 

1595 

Scelte  di  Alcime  Attioni  e  di  Varii  Acci- 

denti 

Petruccio  Ubaldini 

418 

1596 

Rime 

Petruccio  Ubaldini 

419 

1596 

Dichiaratione  delle  Cause  che  hanno 

indotta  la  .  .  .  Reina  d'  Inghilterra 

420 

1597 

Militia  del  Gran  Duca  di  Thoscana 

Petruccio  Ubaldini 

421 

1607 

Historia  de  la  Vita  e  de  la  Morte  de  1'  il- 

lustrissima  Signora  Giovanna  Graia 

M.  A.  Florio 

422 

1609 

Rime  di  Antonio  Galli  All'  lUustrissima 

Signora  Elizabetta  Talbot  Grey 

423 

1613 

Raccolta  d'  alcune  Rime  del  Cavaliere 

Lodovico  Petrucci 

424 

1617 

Scala  Politica  dell'  Abominatione  e  Ti- 

rannia  Papale  di  Benvenuto  Italiano 

425 

1617 

Predica  .  .  .  fatta  la  prima  Domenica 

deir  Avvento  quest  anno  1617 

M.  A.  de  Dominis 

426 

1618 

Saggi  Morali  del  Signore  Francesco 

Bacono 

Sir  Tobie  Matthew 

427 

1619 

La  Caccia 

Alessandro  Gatti 

428 

1645 

Poems  by  Mr.  John  Milton 

INDEX  OF  TITLES,  WITH  TRANSLATORS  xxxiii 


429 

1545 

430 

[1549] 

431 

1565 

432 

1566 

433 

1571 

434 

1573 

435 

1574 

436 

1580 

437 

1581 

438 

1581 

439 

1581 

440 

1584 

441 

1582 

442 

[1583?] 

443 

1583-87 

444 

1584 

445 

1584 

446 

1585 

447 

1585 

443 

1585 

449 

1587 

450 

1587 

451 

1588 

452 

1590 

453 

1591 

454 

1594 

455 

1604 

456 

1605 

457 

1605 

458 

1605 

Latin  (1545-1637) 
Opusculum  plane  divinum  de  mortuonim 

resurrectione  [John  Cheke] 

Tractatio  de  Sacramento  Eucharistise 

Pietro  Martire  d'  Anghiera 
De  Vita  Monachorum   ^  Lelio  Capilupi 

Epitaphia  et  Inscriptiones  Lugubres       William  Barker 
Balthasaris  Castilionis  comitis  de  Curi- 

ale  sive  Aulico 
B.  Mantuani .  .  .  adolescentia  seu  bu- 

colica  Giovanni  Battista  Spagnuoli 

Zodiacus  Vitse  Pietro  Angelo  Manzolli 

Jo.  Casse  Galateo  Nathan  Chytraeus 

Epistolarum  P.  Manutii  libri  X  Paolo  Manuzio 

Phrases  Linguae  Latinae  ab  A.  Manutio  A.  Manuzio,  junior 
Paraphrasis  aliquot  Psalmorum  Davidis  Scipio  Gentili 
S.  Gentilis  in  XXV  Davidis  Psalmos 

Epicae  Paraphrases 
A.  Gentilis  de  Juris  Interpretibus  Dia- 

logi  sex  Alberico  Gentili 

Philothei  J.  Bruni  Giordano  Bruno 

Lectiones  et  Epistolae  quae  ad  Jus 

Civile  pertinent  Alberico  Gentili 

Hugonis  Platti  armig.  Manuele,  etc.    Sir  Hugh  Plat  (Piatt) 
Torquato  Tasso  Solymeidos  Scipio  Gentili 

J.  C.  Stellae  Nob.  Rom.  Columbeidos  Giulio  Cesare  Stella 
A.  Gentilis  de  Legationibus  Alberico  Gentili 

Legalium    Comitiorum  Oxoniensium 

Actio  Alberico  Gentili 

Disputationum  Decas  prima  Alberico  Gentili 

Conditionum  Liber  Singularis  Alberico  Gentili 

De  Jure  Belli  Commentatio  Prima  Alberico  Gentili 
De  Injustitia  Bellica  Romanorum  Actio  Alberico  Gentili 
De  Furtivis  Literarum  Notis,  Vulgo  de 

Ziferis  libri  IV  Giovanni  Battista  della  Porta 

Tractatus  de  Globis  et  eorum  Usu         Robertus  Hues 
Ad  I.  Maccabaeorum  Disp.  et  de  Lingu- 

arum  Mistura  Alberico  Gentili 

A.  Gentilis  .  .  .  Regales  Disputationes  Alberico  Gentili 
De  Unione  Angliae  et  Scotiae  Discursus  Alberico  Gentili 
De  Libro  Pyano  ad  Jo.  Howsonum  Epis- 

tola  Alberico  Gentili 


xxxiv  INDEX  OF  TITLES,  WITH  TRANSLATORS 


459  1616      M.  A.  de  Dominis  .  .  .  suae  Profectionis 

Consilium  exponit. 

460  1617-58  Re  Republica  Ecclesiastica  Marco  Antonio  de  Dominis 

461  1619      Apologia   Equitis  Lodovico  Petrucci 

contra  Calumniatores  suos  Petruccio  Ubaldini 

462  1620      Historiae  Concilii  Tridentini  libri  octo  Sir  Adam  Newton 

William  BedeU 

463  1626      Interdicti  Veneti  Historia  Pietro  Sarpi 

464  1629      De  Ludis  Scenicis  Epistolae  Duae         Alberico  Gentili 

465  1631      F.  Stradae  Romani .  .  .  Prolusiones 

Academicae  Famiano  Strada 

466  1637      R.  P.  E.  Thesauri . . .  Caesares  Emmanuele  Tesauro 


THE  ITALIAN  RENAISSANCE  IN  ENGLAND 


THE  ITALIAN  RENAISSANCE  IN  ENGLAND 


I 

In  1569,  Edmund  Spenser,  just  leaving  the  Merchant 
Taylors'  school,  published  anonymously  Petrarches  Visions. 
It  is  a  significant  illustration  of  the  general  interest  in  Italian 
literature  during  the  reign  of  Queen  Elizabeth  that  a  schoolboy 
in  his  seventeenth  year  should  try  his  *  prentice  hand'  by  trans- 
lating an  Italian  poet.  A  little  more  than  a  score  of  years 
before,  Elizabeth  herself,  a  studious  girl  of  twelve  years,  trans- 
lated from  English  into  Latin,  French,  and  Italian,  a  collection 
of  Prayers  and  Meditations,  and  dedicated  them  to  her  royal 
father,  Henry  VIII.  The  young  princess's  Italian  exercise- 
book,  neatly  written  on  fine  vellum,  and  an  Italian  letter  to 
Queen  Catherine  Parr,  dated  31  July,  1544,  confirm  the  state- 
ment of  Pietro  Bizari,  the  historian  and  poet,  that  she  was  well 
taught,  —  "  She  is  a  perfect  mistress  of  our  Italian  tongue,  in 
the  learning  of  which  signior  Castiglioni  was  her  principal 
master." 

Various  anecdotes  show  that  Queen  Elizabeth  retained  the 
*  perfect  readiness  in  Italian  as  well  as  Latin,  French,  and 
Spanish '  to  which  Roger  Ascham  testifies  in  The  Seholemaster, 
Allinga,  envoy  of  the  Duke  of  Wiirttemberg,  sent  to  negotiate 
a  marriage  between  Elizabeth  and  the  Archduke  Charles, 
reports  a  conversation  he  had  with  the  coveted  bride.  The 
Queen  demurred  to  the  marriage  on  account  of  difference  of 
manners.  The  envoy  sought  to  minimize  her  objection  by 
asserting  that  *  the  Archduke  could  not  be  other  than  the  pink 
of  courtesy,  because  the  Wilrttembergers  modelled  themselves 
somewhat  on  Italy'! 

"That,"  said  Elizabeth,  "is  charming.  I  love  the  manners 
and  ways  of  Italy;  I  am  half  Italian  myself  {me  semble  que  je 


xxxviii   ITALIAN  RENAISSANCE  IN  ENGLAND 


suis  demie  Italienne)"  for  oddly  enough  this  negotiation  with 
an  English  queen  on  behalf  of  a  German  archduke  was  con- 
ducted in  French. 

It  is  really  wonderful  how  familiar  Italy  and  things  Italian 
were  in  England  in  Tudor  times.  Considering  its  far-reaching 
and  profound  effect  upon  English  letters,  no  foreign  vogue 
before  or  since  ever  took  such  hold  upon  English  society.  There 
had  been  more  or  less  commercial  and  scholarly  intercourse 
between  Italy  and  England  for  two  centuries,  but  the  Italian 
invasion  of  Elizabeth's  reign  began  in  earnest  under  the 
encouragement  of  her  grandfather  about  the  turn  of  the  fif- 
teenth century.  At  that  time  the  great  Italian  seaports  com- 
manded the  freedom  of  the  seas,  and  Italian  merchants  carried 
on  the  business  of  the  world.  Under  the  enlightened  foreign 
policy  of  Henry  VII,  England  entered  into  this  world  trade  by 
concluding  conmiercial  treaties  with  Florence  and  Genoa.  The 
Italian  merchants  imported  wool  and  woollens  and  exported 
general  merchandise  and  manufactured  wares  of  various  sorts 
then  unknown  in  England.  In  the  wake  of  trade  followed 
banking,  for  the  enterprising  Italian  traders  carried  with  them 
into  England  their  ideas  of  exchange  and  money  lending.  Early 
Italian  bankers  in  London  were  called  collectively  'Lombards,' 
whence  Lombard  street,  but  as  a  matter  of  fact  banking  arose 
among  the  money  dealers  of  Florence,  chiefly  the  Bardi  and 
Peruzzi  families,  who  were  in  the  highest  repute  during  the 
fourteenth  century  as  receivers  on  deposit  and  lenders  of 
money.  The  Medici  family  established  their  political  ascend- 
ency in  Florence  on  the  basis  of  trade  and  banking.  Two 
Italian  banks  in  London  during  the  fifteenth  century  were 
financed,  the  one  by  Cosimo  de'  Medici,  the  Elder,  the  other 
by  his  son  Piero  I  de'  Medici.  Etienne  Perlin,  a  French  eccle- 
siast  who  wrote  A  Description  of  England  and  Scotland,  in  1558, 
explained  the  presence  of  Italians  in  Great  Britain  by  the 
remark,  "The  Italians  frequent  this  coimtry  much  on  account 
of  the  bank." 

With  the  increase  of  trade,  a  sound  currency,  and  peace. 


ITALIAN  RENAISSANCE  IN  ENGLAND  xxxix 


articles  of  luxury  were  increasingly  imported  from  Italy,  silks, 
cloth  of  gold,  damask  and  jewels  from  the  orient,  for  Venice 
was  the  door  from  Asia  into  Europe.  From  Murano,  near 
Venice,  came  beads,  glass  vessels  of  all  kinds,  and  looking- 
glasses;  one  of  these  translations,  a  political  tract  addressed  to 
a  great  lady,  is  called  A  Venice  Looking-Glass.  Stow  says  that 
Venice  glasses  were  made  in  London  by  one  Jacob  Vessaline 
about  the  beginning  of  Elizabeth*s  reign.  Admiral  Sir  Robert 
Mansell  took  out  a  patent  of  monopoly  for  glass-making, 
imported  materials  and  workmen  from  Venice  and  manufac- 
tured glass  in  Broad  street,  London. 

Henry  VIII  continued  his  father's  friendliness  to  the  Italians 
who  could  do  so  many  things  and  do  them  well.  At  the  begin- 
ning of  his  reign  he  repaired  the  London  docks,  built  new  ships 
on  improved  designs,  and  brought  in  Italians  to  cast  new  types 
of  cannon.  He  employed  many  Italian  artists  and  craftsmen 
in  his  various  building  operations.  They  worked  on  Nonsuch 
Palace  and  Hampton  Court.  The  beautiful  chapel  of  Henry  VII 
in  Westminster  Abbey  is  of  Italian  workmanship.  Girolamo 
da  Treviso,  a  pleasing  colorist  in  the  manner  of  Raphael,  is 
mentioned  in  the  royal  accounts  as  the  king's  "architect."  He 
seems  to  have  been  employed  by  Henry  VIII  chiefly  as  a  mili- 
tary engineer,  and  he  may  have  designed  such  military  Tudor 
castles  as  Camber. 

The  diplomatic  service  of  Italians,  initiated  by  Henry  VII, 
his  son  found  extremely  useful  in  his  tortuous  dealings  with  the 
Roman  curia.  Giovanni  and  Silvestro  Gigli,  uncle  and  nephew, 
were  bishops  of  Worcester  in  succession,  in  1497  and  1498,  but 
the  elder  Gigli  never  saw  his  diocese  and  the  younger  bishop 
spent  very  little  time  in  it.  The  Italians  were  the  first  nation 
to  regard  diplomacy  as  a  career  and  to  educate  young  men  of 
parts  to  follow  it.  A  better  school  of  diplomacy  than  Italian 
politics  at  the  beginning  of  modern  history  it  is  difficult  to  con- 
ceive, that  great  and  troubled  drama,  in  which  pope,  emperor. 
King  of  France,  Venice,  Florence,  Naples  and  the  smaller 
Italian  states  in  turn  occupy  the  stage.  Silvestro  Gigli  was  a 


xl       ITALIAN  RENAISSANCE  IN  ENGLAND 


trained  diplomat,  and  Henry  VII  found  his  Italian  bishop  of 
Worcester  of  most  value  as  ambassador  to  Rome.  Henry  VIII 
continued  to  employ  him  as  English  ambassador  to  the  Lateran 
council,  and  he  became  Wolsey's  chief  diplomatic  agent  in 
Rome. 

By  the  time  Elizabeth  ascended  the  throne  Tudor-Italianiza- 
tion  had  been  going  on  for  upwards  of  three  score  years  and  ten. 
The  young  Queen  had  been  educated  by  the  Italian  method, 
she  spoke  Italian  like  a  native,  her  well-known  bold  signature, 
*  Elizabeth  R,'  is  in  Italian  script.  For  in  her  time  the  running 
Italian  hand  now  universal  in  all  English-speaking  countries 
finally  replaced  the  old  English  character  familiar  to  us  in  the 
crabbed  signature  of  Shakspere.  Elizabeth's  interest  in  things 
Italian  political  and  personal  was  lifelong.  Among  the  State 
Papers  of  the  period  Italian  letters  are  not  uncommon.  Bizari, 
who  was  an  Italian  Protestant  educated  in  England  but  resi- 
dent on  the  continent,  corresponded  with  Burghley  in  Italian. 
The  Portuguese  ambassador  habitually  wrote  to  Sir  Francis 
Walsingham  in  Italian,  and  baddish  Italian  at  that.  In  politics 
Elizabeth  was  deliberately  Machiavellian  when  it  suited  her, 
and  both  Burghley  and  Walsingham  died  in  her  service.  We 
get  a  glimpse  of  Elizabethan  Italianization  more  far-reaching 
in  its  influence  than  that  of  any  individual  Italian,  when  we 
read  how  in  her  last  illness  the  great  queen  turned  wearily 
away  from  matters  of  state,  "yet  delighted  to  hear  some  of  the 
Hundred  Merry  Tales,'* 

II 

The  Italian  literary  conquest  of  England  during  the  sixteenth 
century  was  led  by  the  story-tellers  and  poets,  first  made  known 
to  the  Elizabethans  mainly  through  William  Painter's  The 
Palace  of  Pleasure  (1566-67)  and  Thomas  Watson's  Passionate 
Centurie  of  Love  (1582).  The  short  story  in  prose,  which  was 
one  of  the  earliest  literary  forms  to  develop  in  Romance  liter- 
ature, had  never  been  really  acclimatized  in  England  during 


ITALIAN  RENAISSANCE  IN  ENGLAND 


xH 


the  middle  ages.  Painter  introduced  to  Englishmen,  Boccaccio, 
still  the  best  teller  of  short  stories  the  world  has  ever  known, 
together  with  Boccaccio's  greatest  imitators,  Queen  Margaret 
and  Bandello.  The  novelle  of  Ser  Giovanni,  Masuccio,  and 
Straparola  were  almost  as  well  known.  Indeed,  just  as  in  Italy 
the  Decameron  was  followed  by  imitations  from  every  impor- 
tant Italian  press,  so  from  the  Englishmen  of  Elizabeth's  day, 
alive  to  new  impressions  of  all  sorts,  and  eager  for  stories  like 
children,  the  demand  for  novels  was  excessive.  Translations  of 
stories  from  the  Italian  and  French  poured  forth  from  the  busy 
printers.  Ascham  says  they  were  "sold  in  every  shop  in  Lon- 
don," and  deplores  their  effect  in  the  marring  of  manners.  A 
flourishing  trade  in  "best  sellers"  naturally  produced  imitators, 
of  whom  the  most  successful  were  Robert  Greene  and  Emmanuel 
Ford.  Greene's  novels  were  all  modelled  on  the  Italian,  and 
they  were  so  popular  that  Thomas  Nash  says  of  them,  "glad 
was  that  printer  that  might  bee  so  blest  to  pay  him  deare  for 
the  very  dregs  of  his  wit."  Boccaccio,  by  Greene's  time,  had 
become  so  familiar  to  the  Elizabethans  that  in  1587  Archbishop 
Whitgift  authorized  an  Italian  edition  of  //  Decamerone,  and 
the  bishop  of  London  a  translation  of  UAmorosa  Fiam  metta. 

Watson's  Passionate  Centurie  of  Love  is  interesting  as  a  con- 
scious study  of  Petrarch  and  the  Petrarchists  by  a  clever  poet, 
but  the  century  of  sonnets  are  not  sonnets  at  all,  and  of 
Petrarch,  excepting  these  and  other  individual  sonnets,  it  is 
only  the  Septem  Psalmi  Poenitentiales  and  the  Trionfi  that  get 
translated.  Sannazaro  was  much  better  liked  by  the  trans- 
lators than  Petrarch.  Sannazaro's  Arcadia^  the  prototype  of 
Sir  Philip  Sidney's  Arcadia,  Greene's  Perimides  the  Blacke- 
Smithy  and  like  collective  romances,  was  reprinted  more  than 
sixty  times  during  the  sixteenth  century.  It  is  a  cantefablcy 
or  prose-poetical  romance,  a  literary  form  that  appealed  at 
once  to  the  almost  unerring  instinct  of  the  Elizabethans  in 
recognizing  a  story  wherever  found,  and  to  their  extraordinary 
lyrical  gift,  which  Shakspere  shared  with  more  than  three . 
hundred  lesser  poets. 


xlii     ITALIAN  RENAISSANCE  IN  ENGLAND 


Petrarch  sheds  a  glowing  light  upon  the  Renaissance,  but  as 
a  poet  he  belongs  to  the  company  of  Dante.  When  the  Italian 
Renaissance  reached  Elizabeth's  England,  it  was  Boccaccio 
who  led  the  way  and  Ariosto  who  was  its  poet.  To  put  it  in 
another  way,  although  the  sixteenth  century  in  English  litera- 
ture corresponds  in  a  sense  to  the  thirteenth  of  the  Italian,  yet 
it  is  the  Italian  writers  from  Boccaccio  to  Tasso  who  produced 
the  most  profound  impression  on  the  Elizabethans.  Italian 
novelle,  rich  in  story  and  song,  precede  the  Elizabethan  drama  and 
are  embedded  in  it.  Some  of  the  playwrights,  like  Greene  and 
Munday,  were  men  of  travel,  "  Italianated  "  Englishmen,  who 
returned  home  with  their  heads  full  of  the  ideas  and  culture  of 
the  south.  Ford  and  Marston  do  not  hesitate  to  introduce 
Italian  dialogue  into  their  plays,  for  many  of  the  dramatists 
were  university  men,  and  the  Italian  language  was  studied  at 
Oxford  and  Cambridge  along  with  Latin  and  Greek.  The 
scholarly  Ascham,  inveighing  against  the  Italian  leanings  of  his 
countr3anen,  in  The  Scholemaster,  yet  confesses,  —  "not  be- 
cause I  do  contemne  either  the  knowledge  of  strange  and 
diverse  tonges,  and  namelie  the  Italian  tonge,  which  nexte  the 
Greeke  and  Latin  tonge  I  like  and  love  above  all  others.*' 

Spenser,  in  his  dedicatory  epistle  to  Sir  Walter  Ralegh  pre- 
fixed to  The  Faerie  Queene,  ranks  Ariosto  and  Tasso  with 
Homer  and  Vergil.  Marlowe  was  remembered,  even  by  Shaks- 
pere,  not  as  the  author  of  The  Tragical  History  of  Doctor  Faustus 
and  Edward  II,  but  of  Hero  and  Leander,  a  poem  written  in  the 
most  perfervid  Italian  manner.  Shakspere's  own  Venus  and 
Adonis  was  more  popular  in  its  day  and  generation  than 
Hamlet,  if  we  may  judge  by  the  evidence  of  editions. 

Protests  against  Italianization  were  frequent  and  were 
penned  both  by  the  Italianate  travellers,  who  may  be  supposed 
to  have  written  from  experience,  and  by  the  stay-at-homes  who 
were  yet  unable  to  escape  the  infection  they  tried  to  avoid. 
Stephen  Gosson,  moved  to  write  a  Puritan  tract  against  the 
stage,  entitled  it,  with  wholly  unconscious  hirnior,  Plays  Con- 
futed in  Five  Actions,  Gosspn's  opinion  of  plays  is  roundly  put, 


ITALIAN  RENAISSANCE  IN  ENGLAND  xliii 


—  "Therefore,  the  devil  not  contented  with  the  number  he 
hath  corrupted  with  reading  Italian  baudery,  because  all  cannot 
read,  presenteth  us  comedies  cut  by  the  same  pattern." 

In  an  address  "To  the  Gentlemen  Students  of  both  Universi- 
ties" prefixed  to  Greene's  cantefable  Menaphon,  Thomas  Nash 
wrote:  — 

"Tush,  say  our  English  Italians,  the  finest  wits  our  climate 
sends  forth,  are  but  drie-brained  dolts  in  comparison  of  other 
countries:  whom  if  you  interrupt  with  redde  rationemy  they 
will  tell  you  of  Petrarch,  Tasso,  Celiano,  with  an  infinite  num- 
ber of  others,  to  whom  if  I  should  oppose  Chaucer,  Lydgate, 
Gower,  with  such  like,  that  lived  under  the  tyrannic  of  igno- 
rance, I  doe  think  their  best  lovers  would  bee  much  discontented 
with  the  collation  of  contraries,  if  I  should  write  over  all  their 
heads,  haile  fellow,  well  met.  One  thing  I  am  sure  of,"  he  adds 
stoutly,  "that  each  of  these  three  have  vented  their  meeters 
with  as  much  admiration  in  English  as  ever  the  proudest 
Ariosto  did  his  verse  in  Italian."  But  Nash,  for  his  bitter 
tongue  was  called  by  his  contemporaries, "  the  English  Aretine," 
a  nickname  that  undoubtedly  originated  among  these  same 
"Gentlemen  Students  of  both  Universities." 

It  became  the  fashion  in  Elizabeth's  time  for  young  men  of 
family,  after  a  few  years  at  college,  to  travel  abroad,  and  espe- 
cially to  Italy,  to  complete  their  education.  The  travellers  were 
of  two  sorts,  men  who  visited  foreign  countries  in  the  spirit  of 
Bacon's  essay,  0}  Travel^  really  to  study  and  to  observe,  like 
John  Evelyn,  and  the  dilettante  traveller,  like  the  Earl  of 
Oxford.  Bacon  says  that  Queen  Elizabeth  was  personally 
interested  in  sending  "forth  into  the  parts  beyond  the  seas 
some  young  men  of  whom  good  hopes  were  conceived  of  their 
towardliness,  to  be  trained  up  and  made  fit  for  such  public 
employments  and  to  learn  the  languages.  This  was  at  the 
charge  of  the  Queen,  which  was  not  much,  for  they  travelled 
but  as  private  gentlemen."  That  the  prudent  Queen  at  least 
tried  to  get  the  worth  of  her  money  is  confirmed  by  Sir  John 
Da  vies:  —  "She  hath  had  many  Secretaries  that  have  been 


xliv     ITALIAN  RENAISSANCE  IN  ENGLAND 


great  travaylers."  It  was  against  the  idle  travellers,  those  who 
travelled,  as  Sidney  said,  only  from  "a  certain  tickling  humour 
to  do  as  other  men  had  done,"  that  the  protest  against  Italiani- 
zation  is  most  insistent.  It  was  the  theory  that  Englishmen 
left  their  native  shores  in  a  state  of  innocence  and  returned 
from  Italy  with  wide-open  eyes  and  dubious  morals.  Roger 
Ascham's  description  of  the  *Italianated  Englishman'  is  a 
classic  Elizabethan  pen-portrait,  and  I  quote  from  The  Schole- 
master  the  well-known  proverb,  —  Englese  Italianato  e  un 
diabolo  incarnato.  Fifty  years  later  Bishop  Hall  still  protested 
against  the  demoralization  of  travel  in  Quo  Vadis?  A  Just 
Censure  of  Travell  as  it  is  commonly  undertaken  by  the  Gentlemen 
of  our  Nation  (1617). 

Shakspere's  raillery  is  directed  against  the  dilettante  traveller. 
Jacques  asserts  that  his  melancholy  is  of  no  ordinary  kind, 
because  it  is  due  to  'the  sundry  contemplation  of  his  travels.' 
Rosalind  makes  a  mock  of  him,  — 

"A  traveller!  By  my  faith,  you  have  great  reason  to  be  sad.  I  fear  you 
have  sold  your  own  lands  to  see  other  men's;  .  .  . 

"Farewell,  Monsieur  Traveller:  look  you  lisp  and  wear  strange  suits,  disable 
all  the  benefits  of  your  own  country,  be  out  of  love  with  your  nativity,  and 
almost  chide  God  for  making  you  that  countenance  you  are,  or  I  will  scaree 
think  you  have  swam  in  a  gondola."  ^ 

Michael  Drayton,  dedicating  Ideas  Mirrour:  Amours  in 
Quatorzains  (1594)  to  Anthony  Cooke,  protests 

Yet  there  mine  owne,  I  wrong  not  other  men. 
Nor  trafique  further  then  thys  happy  clyme; 
Nor  fylch  from  Fortes  nor  from  Petrarch's  pen, 
A  fault  too  common  in  thys  latter  tyme. 

Drayton's  manly  word  cannot  be  doubted,  yet  it  comes  down 
to  us  clothed  in  the  Petrarchian  fashion  of  the  sonnet-cycle,  an 
Italian  form  which  has  given  us  some  of  the  noblest  sonnets  in 
English.  It  was  Edward  Guilpin  who  anticipated  the  judgment 
of  time  on  Elizabethan  Italianization,  — 

Drayton's  condemn'd  of  some  for  imitation. 
But  others  say 't  was  the  best  Poets'  fashion.^ 


*  As  You  Like  It,  iv,  1. 


2  Skialetheia,  Satyre  vi. 


ITALIAN  RENAISSANCE  IN  ENGLAND  xlv 


III 

The  seventeenth  century  was  the  great  age  of  translations 
into  English,  for  the  Italian  Renaissance  represented,  not  Italy 
alone,  but  the  whole  movement  of  European  culture,  Greek, 
Latin,  Spanish,  and  French.  Education  and  travel  were  both 
aristocratic,  not  to  be  had  except  by  the  fortunate  few.  The 
only  way  the  ideas  and  manners  of  foreigners  could  be  made 
known  to  all  sorts  and  conditions  of  men  was  by  translating 
their  books.  These  translations  were  eagerly  welcomed  by  men, 
who,  if  they  had  not  the  poise  and  mental  reach  of  the  Italians 
of  the  Renaissance,  or  the  gaiety  and  sense  of  form  of  their 
French  contemporaries,  had  yet  more  daring  and  more  intel- 
lectual curiosity.  There  never  has  been  a  time  when  English- 
men were  more  curious  to  know  what  the  world  of  mind  and 
matter  was  like.  The  same  spirit  of  adventure  that  carried  Sir 
Francis  Drake  around  the  globe  induced  the  Elizabethans  to 
try  new  forms  in  literature,  and  most  of  the  new  literary  forms 
came  to  them  through  translations  from  the  Italian  and  French. 
A  study  of  the  English  translations  of  the  sixteenth  century 
will  show  that  they  were  adequate,  both  in  quantity,  or  range 
of  intellectual  content,  and  in  the  quality  of  individual  trans- 
lations. No  work  of  genius  in  any  language  was  overlooked, 
and  while  many  Elizabethan  translations,  having  served  their 
purpose  of  enlarging  English  thought,  have  now  become  obso- 
lete, still  there  remain  a  considerable  number  of  masterpieces 
of  translation.  It  is  an  open  question  whether  modern  accu- 
racy and  faithfulness  in  detail  produce  a  great  translation.  At 
all  events,  the  Elizabethans  were  not  particularly  interested  in 
accuracy,  and  they  one  and  all  exhibit  a  fine  carelessness  in 
matters  of  detail.  The  Elizabethan  translator  enjoyed  his  for- 
eign author,  found  him  *  delightful,'  to  use  a  favorite  word,  and 
his  supreme  effort  was  to  pass  this  'delight'  on  to  his  readefs. 
He  makes  every  stroke  of  interpretation  tell,  and  whether  he  is 
translating  a  scholarly  or  a  popular  book,  his  idiomatic  English 
is  at  once  racy  and  vigorous,  picturesque  and  dignified. 


xlvi     ITALIAN  RENAISSANCE  IN  ENGLAND 


The  effect  of  the  translations  was  two-fold,  on  language  and 
in  literature,  both  of  which  were  influenced  for  all  time.  Just 
how  the  translations  of  Elizabeth's  lifetime  affected  the  Eng- 
lish language  that  produced  Shakspere's  greatest  plays,  Bacon's 
Essays,  and  the  Authorized  Version  of  the  Bible  during  the 
reign  of  her  successor,  cannot  be  entered  upon  here.  That  they 
did  affect  it  profoundly  no  one  can  doubt  who  is  familiar  with 
Elizabethan  English,  its  fluency  and  fluidity,  its  interest  in 
words,  in  comparison  of  ways  of  saying  things  in  different  great 
languages,  its  trying  out  of  expression,  its  turn  for  phraseology, 
its  phrasing,  which  in  Shakspere's  case  no  one  has  ever  been 
able  to  imitate.  From  the  point  of  view  of  language,  Richard 
Hakluyt's  The  Principall  Navigations,  Voiages  and  Discoveries 
of  the  English  Nation,  has  been  aptly  described  as  "the  great 
Elizabethan  bible  of  adventure."  The  language  of  the  trans- 
lators is  the  English  the  Elizabethan  navigators  carried  around 
the  world.  English  as  a  world  language  began  with  Drake  and 
Ralegh. 

Again,  the  number  and  the  general  average  of  excellence  of 
the  Elizabethan  translations  had  the  happy  effect  of  fixing 
English  prose  and  English  poetry.  Much  of  the  prose  of  the 
translators  is  uncertain  in  touch  and  rugged  in  quality,  but 
some  of  it  is  of  the  very  highest  quality  the  English  language 
is  capable  of.  This  was  written  by  Thomas  North,  Thomas 
Danett,  Philemon  Holland,  William  Adlington,  and  Thomas 
Underdown,  who  established  a  tradition  of  distinguished  prose. 
They  are  the  forerunners  in  English  of  the  simplicity  and  dig- 
nity and  august  severity  of  the  prose  of  the  Authorized  Version 
of  the  Bible. 

So  far  as  poetry  fulfils  the  definition  of  Keats,  — 

The  great  end 
Of  poesy,  that  it  should  be  a  friend. 
To  soothe  the  cares  and  lift  the  thoughts  of  man, 

the  translations  more  than  satisfy  the  test.  In  English  poetry, 
they  stretch  away  out  before  the  Elizabethans  and  long  after 
them.  They  recall  Chaucer  and  Gower  and  Gascoigne  and 


ITALIAN  RENAISSANCE  IN  ENGLAND  xlvii 


Turberville  and  Watson  and  Fairfax  and  Fletcher  and  Spenser 
and  Shakspere  and  Dryden  and  Pope  and  Goldsmith  and 
Byron  and  Keats  and  Tennyson,  most  of  them  seated  with  the 
immortals  and  all  of  them  poets  who  have  'lifted  the  thoughts 
of  man.' 

The  translators  are  a  characteristic  Elizabethan  group. 
Some  of  them  were  gentlemen  of  birth  who  were  educated  at 
Oxford  or  Cambridge.  A  considerable  number,  which  includes 
Crashaw,  Daniel,  Greene,  Drummond,  Gascoigne,  How^ell,  and 
Milton,  were  *  Italianated '  travellers,  whose  literary  work  re- 
flects a  personal  knowledge  of  foreign  lands.  Queen  Elizabeth's 
liking  for  men  in  her  service,  who  had  'learned  the  languages' 
and  knew  at  first  hand  the  foreign  countries  she  had  to  deal 
with,  and  never  herself  saw,  is  well-known.  William  Painter 
held  the  important  post  of  clerk  of  the  ordinance  and  armory; 
John  Astley  was  master  and  treasurer  of  the  Queen's  jewels 
and  plate;  Edward  Hello wes,  translator  of  Guevara,  was  groom 
of  the  leash;  Anthony  Martin,  long  in  service,  was  successively, 
gentleman  sewer  of  the  Queen's  chamber,  keeper  of  the  royal 
library,  and  cupbearer;  Thomas  Bedingfield,  an  industrious 
translator,  had  privilege  but  not  much  money,  as  a  gentleman 
pensioner  of  the  Queen.  Other  translators  were  employed  in 
diplomatic  service.  Spenser  was  in  exile  and  unhappy  in  Ire- 
land, but  Sir  Geoffrey  Fenton  spent  all  his  life  in  the  turbulent 
island,  and,  next  to  Sir  Henry  Sidney,  was  the  best  Irish  admin- 
istrator Elizabeth  had.  Sir  Thomas  Hoby  was  ambassador  to 
France,  while  Sir  Henry  Wotton  was  probably  the  ablest 
diplomat  of  the  Elizabethan  age. 

IV 

Nathan  Drake,  in  Shakespeare  and  His  Times,  gives  a  list  of 
two  hundred  and  thirty-three  English  poets  who  were  Shak- 
spere's  contemporaries,  dividing  them  into  forty  major  and  one 
hundred  and  ninety-three  minor  poets.  The  list,  large  as  it  is, 
may  be  extended  from  the  song-books,  ballads,  and  prose- 


xlviii  ITALIAN  RENAISSANCE  IN  ENGLAND 

poetical  romances,  while  Sir  Philip  Sidney,  in  The  Defense  of 
Poesie  mentions  another  remarkable  aspect  of  Elizabethan 
poetry,  —  "  It  is  already  said,  and  as  I  think  truly  said,  it  is 
not  riming  and  versing  that  maketh  poesy.  One  may  be  a  poet 
without  versing,  and  a  versifier  without  poetry." 

Elizabethan  song  began  with  TotteVs  Miscellany ^  which  first 
saw  the  light  in  1557  and  contributed  to  literature  the  Songes 
and  Sonettes  of  Surrey.  The  anthology  was  immediately  suc- 
cessful and  reached  eight  editions  in  twenty  years.  An  early 
successor.  The  Paradyse  of  Daynty  Devises  (1576),  whose  editor 
and  largest  contributor  was  Richard  Edwards,  master  of  the 
children  of  the  chapel,  came  to  eight  editions  in  twenty-four 
years.  A  series  of  capital  miscellanies  follow,  down  to  England's 
Helicon,  in  1600,  many  bearing  fascinating  prose-poetical 
names,  —  A  Gorgeous  Gallery  of  Gallant  Inventions  (1578), 
A  Handefull  of  Pleasant  Delites  (1584),  A  Banquet  of  Daintie 
Conceyts  (1588),  and  the  like.  The  verse  of  the  anthologies  is 
nearly  all  lyrical,  and  harks  back  to  Italian  hallate  and  madri- 
gali.  However  it  came  about,  whether  out  of  the  courtly  idea 
of  education,  or  by  the  study  of  Italian  poetic  forms,  whether 
the  Elizabethans  *  wrote  in  numbers  because  the  numbers 
came,'  certain  it  is  that  practically  all  writers  of  note  were 
poets,  and  all  poets  were  lyrists.  Naturally  their  lyric  quality 
differs,  both  from  Italian  forms  and  among  themselves.  Some 
poets,  like  Nicholas  Breton  and  John  Donne,  the  noblest  lyrist 
of  all,  were  lyrists  pure  and  simple.  Others  were  dramatic 
lyrists;  all  the  great  dramatists  wrote  beautiful  lyrics,  as  if  it 
were  a  matter  of  course  for  a  character  to  sing,  personage  or 
page.  Thomas  Dekker  wrote  dull  plays  and  scattered  diamonds 
of  lyrics  through  them.  Still  others  were  musical  lyrists,  men 
who  were  at  once  musicians  and  poets,  a  rare  union  of  gifts 
that  was  characteristic  of  the  Renaissance  both  in  Italy  and 
England. 

If  music  and  sweet  poetry  agree. 
As  needs  they  must, 

believed  and  sang  Richard  Barnfield  in  The  Passionate  Pilgrim, 


ITALIAN  RENAISSANCE  IN  ENGLAND  xlix 


The  madrigals  in  Greene's  novels  are  imitated  from  Boccaccio 
and  Ser  Giovanni  and  Sacchetti.  Of  these  three  Franco 
Sacchetti  was  the  most  spontaneous  lyrist.  He  wrote  charming 
songs  and  sometimes  set  them  to  music  himself.  One  of  his 
canzonets,  — 

0  vaghe  montanine  pasturelle,  — 

was  so  popular  among  all  classes  that  it  was  transmitted  orally 
for  many  generations.  The  poetry  of  Robert  Greene  and 
Nicholas  Breton  and  such  anthologies  as  England's  Helicon 
show  how  the  Elizabethans  were  captivated  by  the  gaiety  and 
sweetness  of  just  such  songs  of  spring-time  and  ring-time  as 
Sacchetti  and  Ser  Giovanni  wrote. 

An  even  more  fruitful  source  of  lyric  form  must  have  devel- 
oped out  of  the  cultivation  of  music  at  the  court,  especially  of 
the  canzonet  and  the  madrigal.  William  Byrd  and  Thomas 
Morley,  both  organists  to  the  chapel  royal,  were  prolific  com- 
posers of  madrigals,  and  the  numerous  song-books  and  books 
of  airs  of  the  period  attest  the  popularity  and  the  excellence  of 
this  form  of  musical  composition.  The  Triumphes  of  Oriana 
(1601)  celebrates  the  glories  of  Elizabeth  two  years  before  her 
death,  in  a  collection  of  madrigals  contributed  by  twenty-nine 
English  madrigalists.  Henry  Peacham's  A  Compleat  Gentleman 
gives  a  good  idea  of  how  the  Elizabethans  cultivated  music  as 
a  part  of  a  gentleman's  education.  Peacham  had  studied  music 
at  Modena  under  Orazio  Vecchi,  and  his  comment  on  some  of 
the  famous  Italian  madrigalists,  the  intelligent  judgment  of  a 
contemporary,  is  the  best  that  has  come  down  to  us. 

It  is  a  truism  that  the  noblest  English  poetry  bears  the  mark 
of  high  Italian  descent.  The  romantic  drama  without  Italian 
story  would  be  a  real  case  of  Hamlet  with  the  part  of  Hamlet 
left  out.  And  Italian  story  is  not  confined  in  English  to  the 
romantic  drama,  or  to  the  Elizabethans.  Dryden  versifies 
Boccaccio's  story  of  the  spectre  huntsman  of  Ravenna,  and 
Byron  in  Don  Juan  writes  of  "Ravenna's  immemorial  wood,'* — 

Ever-green  forest!  which  Boccaccio's  lore 
And  Dryden's  lay  made  haunted  ground  to  me. 


1        ITALIAN  RENAISSANCE  IN  ENGLAND 


Other  familiar  stories  from  the  Decameron  are  Keats's  Isabella 
or  The  Pot  of  Easily  and  The  Falcon,  of  both  Barry  Cornwall 
and  Tennyson.  The  fine  little  play  of  Tennyson's,  The  Cup,  is 
the  sinister  story  of  Synorix  and  Camma  of  A  Petite  Pallace  of 
Pettie  his  Pleasure, 

The  influence  of  the  pastoral  drama  on  singing  lyric  measm*es 
in  English  has  undoubtedly  been  great.  The  one  form  of  dra- 
matic art  that  the  Italians  have  cultivated  with  the  most  suc- 
cess is  the  pastoral  drama,  and  its  outcome,  the  opera.  By  the 
time  of  Elizabeth,  the  Italians  in  Aminta  and  II  Pastor  Fido 
had  nothing  more  to  learn  in  the  art  of  pastoral  poetry;  of  their 
kind,  these  two  dramas  are  perfect.  By  this  time  also  they  had 
accumulated  considerable  dramatic  furniture  in  both  tragedy 
and  comedy.  The  great  names  of  Trissino  and  Ariosto  and 
Machiavelli  are  stamped  on  it,  and  a  good  deal  of  talent  and 
some  genius  went  into  its  manufacture.  But  it  was,  and  is,  a 
purely  artificial  drama,  smacking  everywhere  of  Plautus  and 
Terence  and  Seneca.  The  English  playwrights  of  Elizabeth's 
time  had  no  need  to  go  to  the  Italians  for  models  of  plays,  for 
they  were  themselves  conscious  of  having  developed  a  greater 
drama  than  had  been  produced  in  Italy.  Thomas  Heywood,  an 
intelligent  and  sound  critic  of  the  dramatic  art,  in  the  Pro- 
logue to  his  A  Challenge  for  Beauiie,  says,  — 

Those  (i.e.,  plays)  that  frequent  are 
In  Italy  or  France,  even  in  these  days. 
Compared  with  ours,  are  rather  jigs  than  plays. 

By  *  jigs'  he  means  the  love  of  pageantry  of  the  ItaKans,  their 
mixing  of  comedy  and  music  and  the  ballet.  When  Lucrezia 
Borgia  went  to  Ferrara,  in  1502,  as  the  bride  of  Alfonso  d'Este, 
Duke  Ercole  I  gave  a  marriage  entertainment  of  extraordinary 
splendor  to  the  young  couple.  It  was  spread  out  over  five 
days,  and  each  night  a  different  comedy  of  Plautus  was  pre- 
sented, embellished  with  musical  interludes  and  ballets  on 
classical  and  allegorical  subjects.  Plautus  with  a  ballet  was  a 
species  of  comedy  that  could  have  had  no  place  at  the  Globe  or 
the  Blackfriars,  and  the  tragedy  of  Gorhoduc  fortunately  had 
no  successor. 


ITALIAN  RENAISSANCE  IN  ENGLAND  U 


Sir  Philip  Sidney  raises  the  point  in  The  Defense  of  Poesie 
that  the  philosophers  of  Greece  were  poets.  Empedocles  sang 
his  natural  philosophy  in  verse,  and  Pythagoras  his  moral 
counsels.  Solon  told  the  fable  of  Atlantis  in  verse.  "And  truly 
even  Plato,  whosoever  well  considereth,  shall  find  that  in  the 
body  of  his  work  though  the  inside  and  strength  were  philoso- 
phy, the  skin  as  it  were  and  beauty  depended  upon  poetry. 
For  all  standeth  upon  dialogues.''  The  poetical  possibilities  of 
dialogue  the  Italians  of  the  Renaissance  learned  from  the 
classics.  They  found  it  convenient  and  lively,  and  used  it 
widely,  even  extravagantly,  as  a  form  of  literary  expression. 
Tasso  wrote  three  personal  dialogues,  of  which  his  conversa- 
tion with  his  familiar  spirit  is  best  known.  One  of  the  three, 
II  Padre  di  Famiglia  was  translated,  probably  by  Thomas  Kyd, 
as  The  Householders  Philosophiey  a  charming  picture  of  old- 
time  home.  Bishop  Ponet  translated  Ochino's  dialogue  on 
polygamy,  and  Samuel  Daniel's  first  work  was  a  translation  of 
Giovio's  Imprese,  a  dialogue  on  mottoes  and  badges. 

It  seems  a  bit  odd  that  Renaissance  science  should  have  trod 
the  boards  in  dialogue,  and  the  great  Italian  scientific  dialogues 
raise  the  question  whether  modern  scientific  writing,  predomi- 
nantly styleless  and  clumsy,  might  not  still  learn  something 
from  men  who  were  scientists  in  thought  and  stylists  in  speech. 
The  dialogue  form  compels  the  author  to  consider  the  other 
person,  interlocutor  or  reader.  He  cannot  barricade  himself 
behind  a  heavy  wall  of  speech;  there  must  be  some  chinks  at 
least  to  see  through.  Machiavelli's  The  Arte  of  Warre  is  a  dia- 
logue; Niccolo  Tartaglia*s  Quesiti  ed  invenzioni  diver siy  a  book 
of  gunnery,  is  a  collection  of  replies  to  questions  put  to  the 
author  by  persons  of  the  most  varied  conditions.  Bruno's 
Cena  de  la  Ceneri,  or  Ash  Wednesday  conversation,  is  an  expo- 
sition of  the  Copernican  theory.  Galileo's  astronomy  is  set 
forth  in  his  two  works,  Dialogo  ai  due  massimi  Sistemi  (Dia- 
logue on  the  Two  Chief  Systems),  and  Dialoghi  delle  Nuove 
Scienze  (Dialogues  of  the  New  Science). 

An  amusing  misuse  of  this  Renaissance  form  are  the  early 


lii       ITALIAN  RENAISSANCE  IN  ENGLAND 


Puritan  dialogues  against  the  stage  and  all  its  works.  In  1581, 
Thomas  Lovel,  a  Puritan  who  objected  to  the  word  Christmas 
as  "savouring  of  popery,"  published  A  Dialogue  between  Custom 
and  Verity  concerning  the  Use  and  Abuse  of  Dauncinge  and 
Minstrelsye.  That  Puritan  anathema  of  the  corruption  coming 
out  of  Italy,  The  Anatomic  of  Abuses  (1583)  was  "made  dia- 
logue-wise by  Phillip  Stubs."  William  Prynne  called  his  dia- 
tribe against  plays  and  players,  Histriomastix  or  The  Players 
Scourge  or  Actors  Tragedy  (1632). 

How  much  the  popular  dialogue  form  may  have  had  to  do 
with  the  development  of  the  great  dramatic  cycle  of  the 
Elizabethan  period  can  be  a  matter  of  conjecture  only;  there 
is  hardly  a  doubt  but  that  it  acted  as  a  sort  of  bed  of  Procrustes 
for  the  poets  of  the  time.  It  throws  light  on  the  non-dramatic 
Elizabethan  dramatists.  It  explains  the  dull,  ponderous  plays, 
like  Locrine  and  Covent  Garden,  which  move  across  the  stage, 
whether  as  tragedy  or  comedy,  with  elephantine  tread.  It 
makes  clear  why  the  sweet,  bright  fancy  of  John  Day  soars  but 
lamely,  with  clipped  wings,  in  the  dramatic  form.  Neither  Day, 
nor  Nabbes,  nor  Munday,  nor  various  other  Elizabethan  play- 
wrights should  have  written  plays. 

What  the  Elizabethan  poets  took  from  the  Italians  then  was 
not  directly,  either  their  lyric  forms  or  their  dramatic  feeling. 
It  was  ideas,  passion,  grace,  and  gusto,  those  spiritual  qualities 
whose  union  in  the  romantic  drama  is  so  picturesque,  so  fine, 
so  indescribable.  Together  with  the  political  sagacity  of  the 
English  people,  developing  the  state  as  a  unit  and  creating  a 
single  standard  of  taste,  together  with  their  clearer  moral  in- 
sight, these  qualities  produced  Shakspere. 

V 

"  I  pray  you  with  my  children  and  your  household,  be  merry 
in  God  J'  So  wrote  Sir  Thomas  More  to  his  careful  wife  after 
the  burning  of  his  barns.  If  English  letters  can  furnish  a  pret- 
tier phrase  than  be  merry  in  God,  it  must  be  in  Elizabethan 


ITALIAN  RENAISSANCE  IN  ENGLAND 


liii 


English,  the  most  imaginative  age  of  the  English  people.  All 
over  Elizabethan  society  —  in  dress,  speech,  manners,  amuse- 
ments, pageants,  masques,  and  plays,  imagination  played  and 
glowed.  Poetry  to  the  Elizabethans  was  simply  the  transfer- 
ence into  language  of  the  common  facts  of  life.  Charles  Lamb 
called  it  "visible  poetry." 

In  Elizabethan  phraseology  color  and  melody  and  distinc- 
tion flash  out  in  the  most  unexpected  places.  The  flash  is  not 
directly  due  to  imagery,  although  it  may  be  influenced  by  it. 
The  distinctiveness  of  Elizabethan  phrase  looks  simple,  it  is  in 
fact  perfect  art  in  putting  words  together.  Sir  Thomas  More's 
domestic  consolation,  put  in  words  so  unexpected  and  so  fine, 
may  be  matched  by  many  a  jewel  of  speech  in  Bacon's  Essays, 
great  thought,  faultlessly  expressed,  like  God  Almighty  first 
planted  a  garden.  Bacon's  imagination  rarely  soars;  it  hovers 
near  earth,  well  within  the  range  of  practical  experience.  Even 
the  obscure  Elizabethan  does  not  use  words  as  counters,  one  as 
good  as  another.  Rather,  as  he  would  say,  he  writes  our  Eng- 
lish speech  "with  a  difference."  When  Claudius  Holyband 
dedicates  The  Italian  Schoole-maister  "To  the  most  vertuous 
and  well  given  Gentleman  Maister  Jhon  Smith,"  the  very 
spelling  *  Jhon,'  with  the  displaced  *h'  struggling  for  life,  seems 
to  confer  distinction  on  plain  John  Smith. 

Another  characteristic  of  Elizabethan  phraseology  is  its  turn 
for  sweet  names.  A  romance  is  called  A  Posie  of  Gilloflowers; 
an  anonymous  sermon  appeals  to  the  unwary  as,  A  Divine  Herb- 
ally  or  The  Prayse  of  Fertility.  A  grammar  is  correctly  said  to 
be  The  Enemie  of  Idlenesse,  and  chess  is  described  as  The  pleas- 
aunt  and  wittie  playe  of  the  Cheasts,  which  it  just  is. 

The  English  love  of  gardens  is  reflected  by  Robert  Jones,  who 
calls  a  song-book,  The  Muses*  Garden  of  Delights.  Ayres  or 
Phantasticke  Spirites  arrests  attention,  but  hardly  suggests  a 
collection  of  madrigals.  Alliteration,  more  or  less  musical,  was 
often  employed  in  fetching  titles,  sometimes  with  startling 
effect.  Dyets  Dry  Dinner  is  a  good  name  for  a  temperance 
cookery-book,  but  Fioravanti's  II  Reggimento  delta  Peste,  *  regi- 


liv      ITALIAN  RENAISSANCE  IN  ENGLAND 


men  against  the  plague/  suffered  a  sea-change  indeed,  when 
John  Hester,  a  distinguished  EUzabethan  chemist,  gave  it  the 
merry  title  of  A  Joy  full  Jewell.  One  musical  title,  "linked 
sweetness  long  drawn  out"  in  alliteration  and  assonance  occu- 
pies a  distinguished  niche  by  itself.  William  Hunnis  was  one 
of  the  minor  poets,  who  had  twelve  pieces  of  verse  in  The 
Paradyse  of  Daynty  Devises  and  two  in  England's  Helicon. 
About  1583,  he  made  a  metrical  version  of  the  penitential 
Psalms,  and  named  it  Seven  Sobs  of  a  Sorrowfull  Soulefor  Sinne. 
The  Seven  Sohs  became  a  classic,  and  went  through  numerous 
editions.  The  book  sold  so  well  throughout  three  generations 
that  a  century  after  its  first  appearance  the  stationers  pre- 
served the  copyright  by  wiiming  a  lawsuit  against  the  Univer- 
sity of  Oxford. 

Shakspere's  phrasing  baffles  imitation,  but  it  is  not  inexplica- 
ble. Felicity  in  the  choice  of  words  was  a  literary  gift  he  shared 
with  his  fellow-poets,  the  difference,  the  immense  difference, 
was  that  with  Shakspere  felicity  of  expression  and  range  of 
thought  were  one  whole,  and  that  whole  transcendent  genius. 
The  Elizabethan  way  of  saying  things  was  the  inheritance  of 
Italy,  and  in  Italy  it  goes  back  to  the  word  pictures  of  Dante. 
Dante's  style  leaves  an  indelible  impress  on  the  mind  by  its 
union  of  two  Dantean  qualities,  observation  so  keen  and  so 
intense  that  it  seems  to  see  the  very  heart  of  things,  and  austere 
economy  in  the  use  of  words,  every  word  contributing  its  just 
proportion  to  the  artistic  effect  intended. 

Compare  for  a  moment  Dante's  beautiful  description  of  eve- 
ning which  opens  the  second  canto  of  the  Inferno,  with  the 
Elizabethan  touch  of  Shakspere,  — 

Lo  giorno  se  riandava,  e  Vaer  hruno 
Toglieva  gli  animai,  che  sono  in  terra. 
Dalle  fatiche  loro;  ed  io  sol  uno} 

Macbeth  says,  — 

Light  thickens,  and  the  crow 
Makes  wing  to  the  rooky  wood.^ 

*  V  Inferno,  ii,  1-3.  *  Macbeth,  m,  2. 


ITALIAN  RENAISSANCE  IN  ENGLAND 


Iv 


In  the  eighteenth  century,  so  finished  a  poet  as  Gray  re- 
quired four  Hnes  to  express  the  idea  of  gathering  darkness 
and  the  home-coming  of  man  and  beast,  — 

The  curfew  tolls  the  knell  of  parting  day. 
The  lo-oing  herd  wind  slowly  o'er  the  lea, 
The  ploughman  homeward  plods  his  weary  way, 
And  leaves  the  world  to  darkness  and  to  me.^ 

Gray*s  thought  is  precisely  Dante's,  only  set  in  an  English 
landscape  and  charged  with  brooding  reflection. 
Compare  also  Dante's  frosty  February  morning,  — 

In  quella  'parte  del  giovinetto  anno, 

Che  1  Sole;  crin  sotto  VAquario  tempra,^ 

with  Shakspere's 

It  is  a  nipping  and  an  eager  air  • 

of  the  ghost  scene  on  the  platform  at  Elsinore. 

Embedded  in  Dante's  bitter  thought  of  the  Holy  Land 
neglected  by  worldly  popes  and  cardinals,  we  come  across  an 
exquisite  description  of  the  annunciation  at 

Nazzarett€t 
La  dove  Gabriello  aperse  Fali,* 

which  touches  the  heartstrings  like  Hamlet's 

Absent  thee  from  felicity  awhile, 

And  in  this  harsh  world  draw  thy  breath  in  pain. 

To  tell  my  story.  ^ 

Dante,  Petrarch,  Boccaccio,  Ariosto,  Tasso,  all  the  great 
Itahan  poets  are  full  of  scenes  whose  artistic  effect  depend  not 
only  upon  choice  of  words,  but  also  upon  rhythm,  assonance, 
subtle  modulation  of  sound.  Hear  the  pounding  of  hoofs  in 

Qual  esce  alcnna  voUa  di  galoppo 
Lo  cavalier  di  schiera  che  catakhi^ 

The  Elizabethan  poets  were  fond  of  such  onomatopoetic  effects. 
Describing  the  tossings  of  sleeplessness,  Shakspere  pours  out 

*  Elegy  uritten  in  a  Country  Churchyard,  1-4. 

2  r  Inferno,  xxiv,  1-2.  •  Hamlet,  i,  4. 

4  II  Paradiso,  ix,  137-38.  6  Hamlet,  v,  2. 

*  II  Purgatorio,  xxiv,  94-95. 


Ivi       ITALIAN  RENAISSANCE  IN  ENGLAND 


words,  now  noisy  and  nerve-racking,  like  a  storm  at  sea,  now 
suggestive  of  "the  calmest  and  most  stillest  night"  {II  King 
Henry  IV,  iii,  1).  A  description  of  sleep  that  is  all  sleepy  is 
Fletcher's  Care-charming  Sleep  in  Valentinian,  v,  2,  which  is 
imitated  from  Marini's  sonnet,  0  del  Silentio  figlio. 

Another  favorite  subject  for  onomatopoeia  was  the  sound  of 
falling  water  in  green  places,  like  Dante's 

Li  ruscelletti,  che  de*  verdi  colli 

Del  casentin  discendon  giuso  in  Arno, 

Facendo  i  lor  canali  efreddi  e  molli  ^ 

Two  Elizabethan  examples  of  this  word  effect  are  Spenser's 
description  of  the  House  of  Morpheus,  in  The  Faerie  Queene 
(i,  1,  41)  and  Ben  Jonson's  Echo's  Dirge  for  Narcissus,  in 
Cynthia's  Revels,  i,  2. 

It  would  be  difficult  to  decide  which  is  the  greater  triumph 
of  poetic  art,  the  delicacy  of  touch  in  Spenser's  drowsy  lines, 
or  Jonson's  masterful  use  of  the  compensating  pause  to  keep 
eleven  lines  in  twos,  fours,  fives,  and  sixes,  perfectly  rhythmical. 

English  poets  from  Lyly  to  Shelley  have  celebrated  the 
*  blithe  spirit'  of  the  lark,  singing  *at  heaven's  gate.'  Long 
before  all  of  them  Dante  in  II  Paradiso  had  etched  a  lovely 
picture  of  the  lark,  — 

Qual  lodoletta,  che  in  acre  si  spazta 
Prima  cantando,  e  poi  face  contenta 
DeW  uUima  dolcezza  che  la  sazia;  ^ 

VI 

One  of  the  most  novel  and  striking  aspects  of  the  Italian 
translations  of  Elizabeth's  reign  is  the  light  they  throw  upon 
Italian  Protestantism  in  England.  It  will  be  observed  that  the 
religious  influence,  with  few  exceptions,  is  at  first  exclusively 
Protestant,  while  after  1600  the  Roman  Catholic  faith  is  ac- 
corded a  hearing.  About  1550,  Archbishop  Cranmer  and  Sir 
WiUiam  Cecil  estabhshed  an  Italian  church  in  London.  One 


»  L' Inferno,  xxx,  64-66. 


2  II  Paradiso,  xx,  73-75. 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ivii 


account  says  "the  Italians  and  Genoese'*  had  their  congrega- 
tion in  the  Mercers'  church  of  St.  Thomas  of  Aeon.  Strype 
describes  the  Itahan  church  as  consisting  of  "divers  Itahan 
nations,  as  Florentines,  Genoezes,  Milanois,  Venetians,  and 
others:  though  several  of  them  joined  themselves  with  this 
congregation  more  out  of  worldly  ends  than  conscience."  ^ 

The  Italian  travellers  fell  into  the  habit  of  going  to  St. 
Thomas  of  Aeon  to  keep  up  their  Italian,  and  it  was  charged 
that  they  also  went  to  church  "more  out  of  worldly  ends  than 
conscience."  "The  Italian  church  in  London,  which  began  in 
the  time  of  King  Edward  VI  was  continued  under  Queen 
Elizabeth,  and  had  the  favor  of  the  state,  for  the  liberty  of 
religious  worship  for  such  Italians  as  embraced  the  reformed 
religion.  Whereof  there  were  many  residing  in  that  city,  both 
merchants  and  others,  that  had  fled  thither  from  some  parts  of 
Italy  where  the  gospel  had  been  preached,  but  now  persecuted. 
Which  church  was  thought  profitable  also  for  the  use  of  such 
English  gentlemen  as  had  travelled  abroad  in  Italy.  That  by 
their  resorting  thither,  they  might  both  serve  God  and  keep 
their  knowledge  of  the  Italian  language :  which  by  disuse  they 
might  otherwise  have  soon  forgotten.  But  it  was  an  observa- 
tion now  made,  of  the  evil  consequence  of  young  men's  travel- 
ling from  hence  into  those  parts,  viz.  that  they  lost  all  the  good 
and  sober  principles  they  carried  out  of  England  with  them,  and 
became  negligent  of  religion,  and  little  better  than  atheists."  ^ 

Roger  Ascham  did  not  think  much  of  the  influence  of  the 
Italian  church  upon  the  Italian  travellers,  —  i  ^ 

"Thies  men,  thus  Italianated  abroad,  can  not  abide  our 
Godlie  Italian  chirch  at  home :  they  be  not  of  that  Parish,  they 
be  not  of  that  felowshyp :  they  like  not  the  preacher:  they  heare 
not  his  sermons:  Excepte  somtyme  for  companie,  they  cum 
thither  to  heare  the  Italian  tonge  naturally  spoken,  not  to 
heare  God's  doctrine  trewly  preached."^ 

*  Memorials  of  Archbishop  Cranmer,  i,  p.  343. 

*  Strype,  Annals  of  the  Reformation,  Vol.  ii,  Part  I,  p.  41. 
3  The  Scholemaster,  p.  85,  ed.  1570. 


Iviii     ITALIAN  RENAISSANCE  IN  ENGLAND 


The  Italian  church  does  not  seem  to  have  been  particularly 
fortunate  in  its  choice  of  some  of  its  preachers.  Certainly  two 
of  them  were  more  notorious  than  useful  in  England.  John 
Florio's  father,  Michael  Angelo  Florio,  was  the  first  minister. 
He  was  a  Florentine,  originally  from  Siena,  who  fled  to  Eng- 
land from  the  persecution  of  the  Waldenses  in  the  Valtelline 
shortly  before  the  accession  of  Edward  VI.  Florio  was  patron- 
ized both  by  Archbishop  Cranmer  and  by  Sir  William  Cecil, 
in  whose  house  he  lived  for  some  time.  The  Protestant  leaders 
soon  found  that  Florio  could  not  hold  his  people  together. 
Many  of  them  fell  out  with  him,  refused  to  pay  tithes,  and 
went  again  to  mass.  Florio  sent  the  names  of  fourteen  of  them 
to  Cecil,  and  quoted  Deuteronomy  to  the  effect  that  those  who 
rebel  against  God,  the  laws,  and  the  judges,  ought  to  be  slain 
without  mercy.  But  Cecil  discovered  that  Florio  was  a  "  wicked 
man"  and  turned  him  out  of  his  house  for  "an  act  of  unclean- 
ness.*'  While  he  was  in  favor  Florio  translated  into  Italian 
Archbishop  Cranmer's  Protestant  catechism  for  children, 
which  had  originated  in  Germany.  After  his  disgrace,  Florio 
taught  Italian  in  London  and  wrote  an  Italian  grammar,  still 
in  manuscript.  His  Italian  life  of  Lady  Jane  Grey,  supposed  to 
be  of  Dutch  imprint  (1607),  is  a  valuable  contemporary  account 
of  that  lady's  tragical  history. 

Another  Italian  preacher  at  the  Mercers'  Chapel  is  pilloried 
in  these  translations  on  both  sides  of  the  great  religious  ques- 
tion of  the  sixteenth  century.  In  1617,  John  Bill  published,  in 
both  Italian  and  English,  a  Predica  .  .  .  fatta  la  prima  Domenica 
deir  Avvento  quest  anno  1617  in  Londra  nella  cappella  detta  delli 
Merciari.  The  sermon  was  a  vigorous  attack  upon  the  abuses 
of  the  Roman  Church,  and  the  preacher  was  Marco  Antonio  de 
Dominis,  a  Jesuit,  bishop  of  Segni  and  archbishop  of  Spalatro. 
Upon  going  to  England  about  1616,  De  Dominis  took  with  him 
a  copy  of  the  manuscript  of  the  Historia  del  Concilio  TridentinOy 
of  Paolo  Sarpi  (Father  Paul),  which  he  had  got  hold  of  surrepti- 
tiously. In  London  De  Dominis  professed  Protestantism,  and 
was  made  dean  of  Windsor  and  master  of  the  Savoy  by  King 


ITALIAN  RENAISSANCE  IN  ENGLAND  lix 


James  I.  Under  royal  favor,  and  without  the  consent  of 
Father  Paul,  he  published  the  Historia  del  Concilio  Tridentino 
(London,  1619),  with  editorial  notes  of  his  own.  In  1622,  De 
Dominis  retracted  in  London  all  that  he  had  written  against 
the  old  religion,  and  in  November  of  the  same  year  he  recanted 
Protestantism  in  Rome.  The  recantation  was  Englished,  ap- 
parently at  Douay,  in  1623,  and  was  retranslated  as  late  as 
1827,  with  the  title.  My  Motives  for  renouncing  the  Protestant 
Religion.  Contemporary  English  opinion  of  De  Dominis  is 
expressed  in  Bishop  Neile's  book  of  1624  called,  M.  A.  De 
Dominis y  Archbishop  of  Spalatro,  his  Shifting s  in  Religion.  A 
Man  for  Many  Masters.  Thomas  Middleton  ridiculed  him  in 
his  allegorical  play  of  the  same  year,  A  Game  at  Chess,  as  the 
"Fat  Bishop,"  the  "balloon  ball  of  the  churches." 

The  most  distinguished  Italian  Protestant  was  Pietro 
Martire  Vermigli  who  had  been  an  Augustine  friar.  Peter 
Martyr  occupies  a  large  space  in  the  early  history  of  the  Eng- 
lish Church.  He  wrote  commentaries  on  some  of  the  principal 
books  of  the  Bible,  and  several  treatises  on  dogmatic  theology, 
and  at  one  time  ranked  next  to  Calvin  as  an  expounder  of 
Protestant  doctrine.  Archbishop  Cranmer  made  him  professor 
of  ecclesiastical  law  at  Oxford,  and  some  of  the  ablest  Anglican 
divines  learned  theology  at  his  feet,  among  them  Archbishop 
Grindal,  Bishops  Jewel  and  Ponet,  and  Dean  Nowell. 

Like  Vermigli,  Alberico  Gentili  came  of  an  ancient  and  noble 
Italian  family.  Having  become  a  Protestant,  Gentili  went  to 
England,  and  was  entered  at  New  Inn  Hall,  Oxford,  in  1580. 
He  seems  to  have  been  a  man  whose  social  qualities  were  as 
brilliant  as  his  learning  was  profound.  He  was  the  friend  of 
Sir  Francis  Walsingham,  Sir  Philip  Sidney,  Sir  Henry  Wotton, 
Sir  Thomas  Bodley,  and  other  great  Elizabethans,  and  was 
patronized  by  both  the  Earl  of  Leicester  and  the  Earl  of  Essex. 
In  1587,  Queen  Elizabeth  made  him  professor  of  civil  law  at 
Oxford.  His  writings,  which  are  in  Latin,  constitute  the  earli- 
est systematic  digest  of  international  law  that  exists. 

Two  Italian  sceptics,  Giulio  Cesare  Vanini,  who  had  been  a 


Ix        ITALIAN  RENAISSANCE  IN  ENGLAND 


Carmelite  friar,  and  Giordano  Bruno,  took  refuge  in  England 
from  religious  bigotry,  and  leaving  there  both  became  martyrs 
to  the  cause  of  freedom  of  belief  and  speech.  Among  the  Italian 
works  published  in  London  are  seven  books,  which  were  writ- 
ten by  Bruno  between  1583  and  1585,  while  he  was  living  in 
the  household  of  Michel  de  Castelnau  de  la  Mauvissiere, 
French  ambassador  to  England.  They  are  all  philosophical 
books,  for  Bruno,  who  had  been  a  Dominican  friar,  had  at  last 
found  at  Elizabeth's  court  what  he  had  sought  for  in  vain  at 
Geneva,  philosophical  liberty,  *  libertas  philosophica,'  to  use  his 
own  words.  Bruno  was  the  greatest  Italian  thinker  of  the 
Renaissance,  and  as  such  he  had  attracted  Sir  Philip  Sidney, 
who  met  him  during  his  travels  in  Italy,  probably  in  Milan. 
In  the  house  of  the  cultivated  French  ambassador,  Bruno  re- 
newed the  acquaintance,  and  came  to  know  the  group  of  famous 
Englishmen  who  moved  in  Sidney's  scholarly  circle,  Fulke 
Greville,  Sir  Edward  Dyer,  Spenser,  Gabriel  Harvey.  La  Cena 
de  le  Ceneri  is  an  Ash  Wednesday  conversation,  dedicated  to 
the  French  ambassador.  It  is  an  account  of  the  evening  of  13 
February,  1584,  when  Bruno  was  invited  by  Fulke  Greville  to 
meet  Sidney  and  other  friends  in  order  that  they  might  hear 

*  the  reasons  of  his  belief  that  the  earth  moves.' 

The  discussion  was  followed  by  others,  for  the  company  seems 
to  have  resolved  itself  into  a  philosophical  club.  **We  met," 
Bruno  says,  "in  a  chamber  in  the  house  of  Mr.  Fulke  Greville, 
to  discuss  moral,  metaphysical,  and  natural  speculations." 

VII 

In  science,  the  Italians  led  in  medicine,  especially  in  anatomy, 
as  is  shown  in  these  translations  by  George  Baker's  edition  of 
Giovanni  da  Vigo's  Practica  in  arte  chirurgica  and  John  Hall's 
Chirurgia  parva  Lanfranci,  Lanfranke  of  Mylayne  his  brief e. 
Nicholas  Ferrar's  Hygiasticon:  or,  the  right  course  of  preserving 
Life  and  Health  unto  extream  old  Age,  translates  Luigi  Cornaro's 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixi 


Discorsi  delta  vita  sohriay  a  work  in  preventive  medicine  that 
has  survived  into  the  twentieth  century.  The  greatest  medical 
discovery  of  the  seventeenth  century,  the  circulation  of  the 
blood,  was  claimed  for  Paolo  Sarpi  by  his  secretary,  Fra 
Fulgenzio  Micanzio,  in  his  Vita  del  Padre  Paolo  delV  Ordine  de* 
Servi  (1646),  *' Translated  out  of  Italian  by  a  Person  of  Qual- 
ity," in  1651.  From  Fra  Fulgenzio's  story  of  the  circumstances, 
which  is  independently  confirmed  by  Pietro  Gassendi  in  his 
life  of  Claude  Peiresc,  it  is  clear  that  the  original  idea  of  the 
circulation  of  the  blood  was  one  of  Sarpi's  sublime  glimpses 
into  things,  that  after  trying  out  the  idea  by  actual  dissection 
Sarpi  communicated  it  to  his  friend  d'  Aquapendente,  and  that 
d'  Aquapendente  was  Harvey's  instructor  in  anatomy  at  Padua. 
What  Harvey  did  was  to  make  the  discovery  available  to  sci- 
ence by  tracing  it  to  its  consequences. 

William  Harvey  was  a  student  at  the  University  of  Padua 
from  1597  to  1602,  when  he  was  given  the  degree  of  doctor  of 
physic.  At  that  time  the  reputation  of  the  University  of  Padua 
was  so  great  that  twenty-three  different  nationalities  were 
represented  among  its  students.  Between  September,  1591, 
and  October,  1594,  twenty-five  English  students  were  matricu- 
lated at  Padua.  In  Harvey's  time  the  medical  school  of  Padua 
was  the  best  in  the  world.  His  diploma  was  signed  by  Fabrizio 
d'  Aquapendente,  the  greatest  anatomist  in  Europe,  then  pro- 
fessor of  anatomy  and  surgery  in  the  University  of  Padua,  and 
by  the  medical  humanist,  Giovanni  Tommaso  Minadoi,  pro- 
fessor of  medicine,  whose  Historia  delta  Guerra  fra  Turchi  et 
Persiani  was  translated  by  Abraham  Hartwell,  secretary  to 
Archbishop  Whitgift. 

Physicians  who  had  studied  medicine  in  Italy,  whether  Eng- 
lish or  Italian,  easily  acquired  practice  and  influence  in  Eng- 
land, especially  at  the  court  and  among  the  nobility.  Two  of 
Henry  VIII's  physicians  were  the  medical  humanist,  Thomas 
Linacre,  and  John  Chambre,  both  doctors  of  medicine  of  Padua. 
Through  the  influence  of  Linacre  and  Chambre  the  College  of 
Physicians  was  founded,  in  1518;  the  plan  followed  that  of 


Ixii     ITALIAN  RENAISSANCE  IN  ENGLAND 

similar  institutions  in  Italy  and  was  drawn  up  by  Linacre,  who 
became  first  president  and  held  that  oflSce  until  his  death. 
Chambre  became  censor  of  the  College  of  Physicians  in  1523. 

A  medical  adviser  of  both  Queens  Mary  and  Elizabeth  was 
Cesare  Adelmare,  father  of  Sir  Julius  Caesar,  judge  of  the 
admiralty  court,  long  a  faithful,  ill-paid  servant  of  the  crown. 
Like  Linacre,  Adelmare  was  a  graduate  both  in  arts  and  in 
medicine  of  Padua.  He  became  naturalized,  and  after  five  years* 
practice  in  London  was  elected  censor  of  the  College  of  Physi- 
cians. 

Giulio  Borgarucci,  one  of  Elizabeth's  court  physicians,  was 
brother  to  Prospero  Borgarucci,  professor  of  anatomy  in  the 
University  of  Padua.  He  is  first  heard  of  as  a  member  of  the 
Italian  branch  of  the  "Strangers'  church"  in  London  under 
the  ministry  of  Girolamo  Jerlito.  In  1563,  Borgarucci  treated 
the  plague  by  bleeding,  it  is  said  successfully.  A  device  of 
his  against  the  plague  was  the  porno,  or  ball  compounded  of 
balsamic  substances  to  be  carried  in  the  hand  and  squeezed  to 
ward  off  the  effects  of  foul  air.  In  1572,  Borgarucci  was  incor- 
porated M.D.  in  the  University  of  Cambridge,  and  in  the  fol- 
lowing year  he  was  made  physician  to  the  royal  household  for 
life.  Borgarucci  was  also  physician  to  the  Earl  of  Leicester, 
who  was  accused  of  using  his  physician's  knowledge  of  poisons 
on  persons  who  obstructed  his  way. 

Dr.  Jasper  Despotine  was  a  Venetian  physician,  who,  be- 
coming a  Protestant,  was  encouraged  to  go  to  England  by 
William  Bedell,  chaplain  to  Sir  Henry  Wotton.  Bedell  helped 
to  settle  Dr.  Despotine  in  Bury  St.  Edmunds,  where  he  prac- 
tised medicine. 

A  distinguished  Italian  physician  who  visited  England  dur- 
ing the  reign  of  Edward  VI  was  Girolamo  Cardano,  whose  De 
Consolatione  was  translated  by  Thomas  Bedingfield  as  Carda- 
nus  Comfortey  "And  published  by  Commaundement  of  the 
Right  Hon.  the  Earl  of  Oxford."  Cardano  is  most  celebrated 
for  his  discoveries  in  algebra,  and  especially  by  "Cardan's 
formula"  for  solving  equations  of  the  third  degree  (which  it 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixiii 


was  charged  he  filched  from  Tartaglia) .  He  was  a  graduate  in 
medicine  of  Padua,  and  dabbled  in  astrology.  In  1550,  Cardano 
was  in  London  as  the  guest  of  the  great  Greek  scholar,  Sir  John 
Cheke.  From  there  he  went  to  Scotland  to  treat  Archbishop 
Hamilton  of  St.  Andrews,  whom  he  cured.  While  in  London 
Cardano  saw  the  young  king,  Edward  VI,  in  a  medical  capacity, 
and  cast  his  horoscope,  predicting  long  life.  In  his  Dialog o  sulla 
Morte,  Cardano  gave  an  account  of  his  visit  to  England,  and  of 
his  impressions  of  King  and  people,  which  is  all  the  more  valu- 
able because  it  is  the  judgment  of  a  competent  and  disinter- 
ested observer.  < 

A  deservedly  popular  book  in  physical  science  was  Giovanni 
della  Porta's  Magiae  Naturalise  translated  as  Natural  Magick: 
wherein  are  set  forth  all  the  riches  and  delights  of  the  Naturall 
Sciences.  As  the  English  title  shows,  Porta's  Magiae  Naturalis 
is  the  forerunner  in  Italy  of  Bacon's  last  work,  the  Sylva  Sylva- 
rum.  Both  books  consist  of  a  miscellaneous  collection  of  obser- 
vations and  experiments  in  natural  history,  some  of  them 
sound  science,  others  as  fanciful  as  are  the  names  'Natural 
Magic'  and  *Wood  of  Woods'  to  describe  scientific  work  in 
physics  and  biology. 

Blundeville's  The  Theoriques  of  the  seven  Planets  (1602) 
makes  the  first  application  of  the  Copernican  theory  of  the 
solar  system,  which  Bruno  discussed  with  Sir  Philip  Sidney  and 
Fulke  Greville. 

Apart  from  the  great  Italian  anatomists  and  physicists  of 
the  sixteenth  century,  Elizabethan  science  in  translation  is 
considerably  mixed  with  alchemy  and  magic  and  sheer  credu- 
lity. Translators  of  this  sort  were  wont  to  speak  of  their  pseudo- 
scientific  facts  as  *  secrets.'  The  Secretes  of .  .  .  Alexis  of  Pie- 
mount,  a  kind  of  dispensatory  of  formulae  for  medicines,  cos- 
metics, perfumes,  and  soaps,  was  a  household  book  for  upwards 
of  a  century.  In  A  Booke  of  Secrets  William  Philip  told  the 
Elizabethans  how  the  Italians  made  ink  and  ordered  wines. 
A  Revelation  of  the  Secret  Spirit  declares  **the  most  concealed 
secret  of  Alchymie,"  a  bare  dozen  years  after  Ben  Jonson's 


Ixiv     ITALIAN  RENAISSANCE  IN  ENGLAND 

The  Alchemist  had  once  for  all  satirized  that  Elizabethan  rogue 
out  of  court. 

Military  tactics  the  Elizabethans  called  an  art,  and  they 
learned  it  from  Machiavelli,  Tartaglia,  and  Cataneo.  Federico 
Grisone  and  Claudio  Corte  taught  them  horsemanship,  an 
important  part  of  a  gentleman's  education.  Vincentio  Saviolo, 
who  suggested  to  Shakspere  the  immortal  Touchstone,  con- 
ducted a  fencing-school  in  London,  "which  he  called  his  col- 
ledge,  for  he  thought  it  great  disgrace  for  him  to  keep  a  fence-  * 
schoole,  he  being  then  thought  to  be  the  only  famous  maister 
of  the  arte  of  armes  in  the  whole  world." 

Epulario  or  The  Italian  Banquet  is  a  Venetian  cookery-book. 
Epulario  contains  a  diverting  recipe  that  illustrates  the  nursery- 
rime  of  "Sing  a  song  of  sixpence."  Fancy  the  romantic  Eliza- 
bethans being  instructed  from  Venice  how  "to  make  Pies  that 
the  Birds  may  be  alive  in  them,  and  fly  out  when  it  is  cut 
up!" 

Fynes  Moryson  in  his  Itinerary  (1617)  agrees  with  Montaigne 
in  praise  of  Italian  abstinence  in  eating  and  of  the  daintiness 
with  which  the  Italians  served  food.  Coryat  picked  up  the 
information  that  the  Guelf  laid  his  plate  with  the  knife,  fork, 
and  spoon  to  right,  while  the  Ghibelline  wished  to  find  his  spoon 
at  the  top  of  his  plate.  Ben  Jonson  on  Italian  table  manners  is 
satirical,  — 

Then  you  must  learn  the  use 
And  handling  of  your  silver  fork  at  meals. 

The  metal  of  your  glass;  (these  are  main  matters  with  your  Italian.)  ^ 

The  Jerusalem  artichoke  is  an  Italian  vegetable  that  was 
distributed  over  Europe,  after  1617,  from  the  Farnese  garden 
in  Rome.  It  has  nothing  to  do  with  Jerusalem,  but  is  the  arti- 
choke that  *  turns  with  the  sun,'  girasole  articiocco.  Many  Ital- 
ian gardens  served  as  receiving  stations  for  foreign  plants  and 
flowers  in  the  process  of  European  acclimatization.  The  coin- 
cidences between  passages  in  The  Winter's  Tale  and  Bacon's 
essay  Of  Gardens  may  be  explained  by  the  fact  that  both  Shak- 
1  Volpone,  or  The  Fox,  iv,  1. 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixv 


spere  and  Bacon  could  have  known  some  flowers  then  newly 
imported,  such  as  the  crown  imperial,  only  in  the  Strand  gar- 
dens of  the  great  nobles  of  Elizabethan  London. 

VIII 

The  English  had  everything  to  learn  from  the  Italians  in  the 
fine  arts,  and  during  the  long  peace  brought  about  and  main- 
tained by  three  able  Tudor  sovereigns,  architecture,  sculpture, 
and  painting  flourished.  Sir  Henry  Wotton,  twice  English 
ambassador  to  Venice,  was  an  early  lover  and  collector  of 
works  of  art;  in  his  will,  he  bequeathed  pictures,  his  viola  da 
gamba,  and  Italian  locks  and  screws.  But  the  "Father  of  Vertu 
in  England,"  as  Horace  Walpole  named  him,  was  Thomas 
Howard,  second  Earl  of  Arundel,  in  whose  house  at  Highgate 
Bacon  died.  Howard  began  his  career  as  an  art  collector  on  his 
first  visit  to  Italy  in  1609.  He  is  credited  with  having  first  dis- 
covered the  talent  of  Inigo  Jones,  who  had  been  sent  to  travel 
"over  Italy  and  the  politer  parts  of  Europe"  at  the  expense  of 
William  Herbert,  third  Earl  of  Pembroke.  Both  Herbert  and 
Howard  employed  Jones  to  buy  works  of  art  for  them,  and 
Howard's  collection  of  pictures,  marbles,  gems,  and  other  art 
objects,  brought  together  at  Arundel  House,  London,  was  the 
first  large  art  gallery  in  England.  Inigo  Jones  had  gone  to  Italy 
to  study  architecture,  and  while  there  he  became  interested  in 
the  elaborate  Italian  dramatic  performances,  which  demanded 
the  skill  of  painter  and  sculptor  as  well  as  of  playwright  and 
musician.  This  form  of  entertainment  passed  into  France, 
where  it  was  called  le  ballet  d' action.  In  London,  Jones  associ- 
ated himself  with  Ben  Jonson,  and  in  the  hands  of  these  two 
masters  the  ballet  d' action  developed  into  the  masque  with 
shifting  scenery.  In  so  far  as  the  masque  was  pageantry,  more 
or  less  loosely  supplied  with  words,  it  did  not  survive  the 
Elizabethan  age,  but  the  use  of  shifting  scenery  has  become  so 
great  that  a  modern  play  as  mere  spectacle  is  likely  to  be  more 
pleasing  to  the  eye  than  satisfactory  to  the  intelligence. 


Ixvi     ITALIAN  RENAISSANCE  IN  ENGLAND 


The  first  Italian  of  note  to  carry  his  art  into  England  was 
Pietro  Torregiano,  the  sculptor  who  broke  Michelangelo's  nose. 
"Peter  Torresany"  went  to  England  with  some  Florentine 
merchants  and  entered  the  service  of  Henry  VII.  His  English 
masterpiece  is  the  beautiful  tomb  of  Henry  VII  in  Westminster 
Abbey,  which  Bacon  described  as  "one  of  the  stateliest  and 
daintiest  monuments  of  Europe."  Other  Italian  artists  who 
were  employed  by  Henry  VIII,  and  whose  taste  exerted  great 
influence  upon  architecture  and  upon  the  application  of  sculp- 
ture and  painting  to  architecture  were  Trevisano  and  Antonio 
To  to.  •  Girolamo  di  Pier  Maria  Pennacchi,  called  Girolamo  da 
Treviso,  or  Trevisano,  was  an  architect  and  engineer  who  is 
said  to  have  introduced  terra-cotta  or  moulded  brick-work  for 
ornaments.  Antonio  Toto,  son  of  Toto  del  Nunziata,  and  Barto- 
lommeo  Penni  were  painters,  and  all  three  of  these  artists  were 
pupils  or  of  the  school  of  Raphael.  Vasari  says  that  Toto  del 
Nunziata  worked  on  the  King's  "principal  palace,"  probably 
Nonsuch  Palace,  near  Cheam,  in  Surrey.  Benedetto  da  Rovez- 
zano,  an  able  Florentine  sculptor,  began  a  tomb  for  Cardinal 
Wolsey  in  St.  George's  Chapel,  Windsor,  which  Henry  VIII 
quietly  appropriated  for  himself  after  the  fall  of  Wolsey,  and 
then  employed  Rovezzano  and  Giovanni  da  Majano  to  finish 
it.  The  famous  terra-cotta  medallions  of  the  Caesars  at 
Hampton  Court  were  made  by  Giovanni  da  Majano. 

The  old  manor-house  of  Sutton  Place,  Guildford,  and  Layer 
Marney  Hall,  Essex,  built  by  Sir  Henry  Marney,  captain  of 
the  guard  to  Henry  VIII,  are  fine  examples  of  Italian  Tudor 
architecture.  Its  characteristics  are  decorative  details  in  terra- 
cotta or  moulded  brick-work,  bass-reliefs  fixed  upon  walls, 
plasterwork  laid  over  brick  walls  (sometimes  painted),  and 
square  bricks  of  two  colors,  highly  glazed  and  placed  in  diagonal 
lines  as  at  Layer  Marney. 

The  Italian  artists  employed  Englishmen  to  work  out  their 
designs,  and  Elizabethan  architecture  shows  that  while  English 
craftsmen  never  acquired  skill  in  the  Italian  arts  of  design,  they 
were  very  clever  in  adapting  Italian  ideas  to  English  building 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixvli 


conditions.  Plastering,  which  was  then  a  new  art,  furnishes  a 
good  illustration.  Even  stately  English  houses  were  smaller 
than  Italian  palaces  and  the  English  climate  is  colder  than  that 
of  Italy.  Italian  artists  never  had  to  deal  with  the  question  of 
covering  the  flat  ceiling  of  a  room  of  moderate  height  with  a 
suitable  plastered  decoration.  Charles  Williams  is  the  first 
English  plasterer  whose  practice  of  his  art  is  recorded.  He  had 
travelled  in  Italy  and  had  probably  been  employed  at  Nonsuch 
Palace.  Between  1567  and  1579  Sir  John  Thynne  built  Long- 
leat  House,  Wilts.  Longleat  cost  eight  thousand  pounds 
(about  forty  thousand  pounds  in  twentieth-century  money), 
and  has  the  reputation  of  being  the  first  well-built  house  in 
England.  While  Sir  John  Thynne  vras  building  Longleat, 
Charles  Williams  wrote  to  him  offering  his  services  in  supply- 
ing internal  decorations  after  "the  ItaHan  fashion."  Among 
the  Elizabethan  records  preserved  at  Longleat  are  two  letters 
from  Sir  William  Cavendish  and  his  wife  to  Sir  John  Thynne 
asking  him  for  the  use  of  this  "cunning  playsterer."  The 
Cavendishes  wrote  that  they  had  heard  how  Williams  had 
made  "dyvers  pendants  and  other  pretty  things  and  had  flow- 
ered the  hall  at  Longleat,"  and  they  wished  to  get  him  to  do 
similar  work  for  them  at  Hardwick  Hall,  Devon.  Sir  WilUam 
Cavendish's  wife  was  Elizabeth  Hardwick,  "Bess  of  Hard- 
wick," who  took  for  a  fourth  husband,  George  Talbot,  6th 
Earl  of  Shrewsbury.  Edmund  Lodge  describes  the  Countess 
of  Shrewsbury  as  "a  builder,  a  buyer  and  seller  of  estates,  a 
money-lender,  a  farmer,  and  a  merchant  of  lead,  coals,  and 
timber;  when  disengaged  from  these  employments  she  intrigued 
alternately  with  Elizabeth  and  Mary,  always  to  the  prejudice 
and  terror  of  her  husband."^  Bess  of  Hardwick  was  the  great- 
est Elizabethan  builder.  Horace  W^alpole's  epitaph  for  her 
records  the  names  of  "five  stately  mansions"  she  erected, — 

When  Hardwicke's  tow'rs  shall  bow  yr  head, 
Nor  masse  be  more  in  Worksop  said, 

*  Illustrations  of  British  History,  Biography,  and  Manners  in  the  Reigns  of 
Henry  VIII,  Edward  VI,  Mary,  Elizabeth,  and  James  I, 


Ixviii  ITALIAN  RENAISSANCE  IN  ENGLAND 


When  Bolsover's  fair  frame  shall  tend 

Like  Oldcoates  to  its  destined  end. 

When  Chatsworth  knows  no  Candish  bounties. 

Let  fame  forget  this  costly  countess. 

Walpole  attributes  Bess  of  Hardwick's  zeal  in  building  to  a 
prediction  that  she  should  not  die  so  long  as  she  was  building. 
She  hved  to  be  ninety,  and  died  13  February,  1607/08,  "in  a 
hard  frost  while  her  builders  could  not  work."  Her  estates 
were  estimated  at  sixty  thousand  pounds  a  year,  an  income 
she  herself  acquired,  partly  by  her  business  ability  and  partly 
by  her  skill  in  match-making.  Sir  William  Cavendish,  her 
second  husband,  was  the  father  of  her  children.  Her  second 
son  founded  the  dukedom  of  Devonshire,  and  her  third  son, 
the  dukedom  of  Newcastle,  while  she  married  her  daughter, 
Elizabeth  Cavendish,  to  Charles  Darnley.  Through  this  match 
Bess  of  Hardv/ick  became  grandmother  to  Arabella  Stuart. 

It  is  one  of  the  tragedies  of  art  that  there  is  no  great  portrait 
of  any  great  Elizabethan.  Paolo  Veronese  painted  a  portrait  of 
Sir  Philip  Sidney,  in  1574,  for  Hubert  Languet,  and  we  know 
that  Languet  thought  the  expression  of  the  young  man  of 
twenty  "too  sad  and  thoughtful."  Veronese's  portrait  of  Sid- 
ney is  unfortunately  lost,  and  of  extant  pictorial  art  all  the 
portraiture  of  Elizabeth's  time  falls  below  the  fine  work  done 
by  Holbein  for  Henry  VIII  and  the  beautiful  pictures  in  which 
Van  Dyck  makes  us  see  again  the  people  of  "the  Warres," 
cavaliers  with  dark  careworn  faces  and  the  delicate  proud 
ladies  who  mated  with  them. 

The  best  known  portrait  painter  of  the  period  was  Federigo 
Zuccaro,  an  Italian  refugee,  who  went  to  England  in  1574  and 
remained  four  years.  Zuccaro  painted  historical  and  decorative 
subjects  in  the  facile  Italian  style  that  followed  the  great  tradi- 
tions of  Raphael  and  Michelangelo.  He  was  not  a  portrait 
painter  by  profession,  nor  was  he  attached  to  the  court,  nor 
did  he  stay  in  England  long  enough  to  paint  all  the  portraits 
that  are  attributed  to  him.  Zuccaro  painted  several  portraits 
of  Queen  Elizabeth.  The  'Rainbow'  portrait  of  Elizabeth  at 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixix 


Hatfield  is  attributed  to  him.  The  full-length  portrait  of  Sir 
Walter  Ralegh  at  the  age  of  thirty-four  now  in  the  National 
Portrait  Gallery  is  by  Zuccaro.  The  Marquis  of  Bath  owns  a 
Zuccaro  portrait  of  the  Earl  of  Leicester,  and  a  portrait  of  Sir 
Francis  Walsingham  by  Zuccaro  was  at  Strawberry  Hill  until 
its  sale  in  1842.  The  Zuccaro  portrait  of  Sir  Philip  Sidney  is 
dated  1577.  Twenty-one  portraits,  said  to  be  by  Zuccaro,  were 
brought  together  in  1866,  but  in  the  Illustrated  Catalogue  of  a 
Loan  Collection  of  Portraits  of  English  Historical  Personages 
who  died  prior  to  the  year  1625,  exhibited  at  Oxford  in  1904, 
Zuccaro  was  represented  by  three  portraits  only,  a  portrait  of 
the  Earl  of  Leicester,  owned  by  University  College,  and  two  of 
Queen  Elizabeth,  the  one  the  property  of  Bodley's  Library  and 
the  other  belonging  to  Jesus  College. 

Elizabethan  portraits  are  not  distinguished.  They  are  dis- 
tinguishable by  their  wooden  faces,  stiff  figures,  and  rich  cos- 
tumes. The  wooden  faces  are  explained  by  the  painters'  prac- 
tice of  the  time.  It  was  the  custom  for  the  painter  to  make  a 
drawing  from  the  subject,  probably  at  one  sitting  only,  to- 
gether with  notes  of  the  costume  and  accessories.  Then  the 
portrait  was  completed  on  panel  in  the  painter's  studio;  when 
done  it  could  be  repeated  as  often  as  desired,  or  even  varied  by 
the  painter  or  his  assistants. 

Elizabethan  artists  were  largely  Netherlandish,  and  it  is 
clear  that  they  were  much  more  interested  in  painting  the  elab- 
orate costumes  of  the  personages  they  portrayed,  than  in  get- 
ting at  the  soul  of  "the  spacious  times,"  which  must  have  been 
reflected  in  their  faces.  Dress  is  always  more  or  less  indicative 
of  mental  states,  and  there  never  has  been  a  time  before  or  since 
when  there  was  such  sympathy  between  clothes  and  the  lives 
of  the  people  wearing  them  as  during  the  forty-five  years  of 
the  reign  of  Queen  Elizabeth.  The  picturesque  dress  of  the 
Elizabethans  is  the  outward  and  visible  symbol  of  the  romance 
in  which  they  lived.  This  is  particularly  true  of  the  dress  of 
men,  which  was  even  gayer  than  that  of  women.  Brightness 
of  color  and  smartness  in  cut  came  out  of  Italy,  and  were  criti- 


Ixx      ITALIAN  RENAISSANCE  IN  ENGLAND 


cized  even  there  by  the  more  sober  sort.  "Time  hath  brought 
pride  to  such  perfection  in  ItaUe,  that  we  are  almost  as  fantas- 
tike  as  the  Enghsh  Gentleman  that  is  painted  naked,  with  a 
pair  of  sheeres  in  his  hande  [Andrew  Borde's  sign],  as  not  being 
resolved  after  what  fashion  to  have  his  coat  cut.  In  truth, 
quoth  Farnese,  I  have  scene  an  English  Gentleman  so  diffused 
in  his  sutes,  his  doublet  being  for  the  weare  of  Castile,  his  hose 
for  Venice,  his  hat  for  France,  his  cloake  for  Germanic,  that  he 
seemed  no  way  to  be  an  Englishman  but  by  his  face."  {Greenes 
farewell  to  Folly.) 

In  1572,  Viscount  Montacute  married  his  son  and  daughter 
to  daughter  and  son  of  Sir  William  Dormer.  Gascoigne  tells 
us  naively  that  eight  gentlemen,  all  related  to  Lord  Montacute, 
decided  to  present  a  masque  in  celebration  of  the  double  wed- 
ding. The  first  thing  they  did  was  to  buy  "furniture  of  Silkes," 
then  they  "caused  their  garments  to  bee  cut  in  the  Venetian 
fashion,"  and  last,  as  a  kind  of  afterthought,  they  employed 
George  Gascoigne  to  write  the  masque  —  around  the  Venetian 
costumes. 

The  dress  of  the  cavaliers  was  still  a  pageant  of  color  and 
form,  but  the  whimsical  and  fantastic  had  gone.  The  cut  was 
more  graceful,  and  purple  velvet  and  cloth  of  silver  were  more 
subdued  color  effects.  Human  dress  has  never  been  more 
beautiful  than  it  is  seen  in  the 

Black  armor,  falling  lace,  and  altar-lights  at  mom, 
that  Van  Dyck  painted. 

IX 

"When  Learning  first  came  up,  men  fansied  that  every  thing 
could  be  done  by  it,  and  they  were  charm'd  with  the  Eloquence 
of  its  Professors,  who  did  not  fail  to  set  forth  all  its  Ad^^antages 
in  the  most  engaging  Dress.  It  was  so  very  modish,  that  the 
Fair  Sex  seemed  to  believe  that  Greek  and  Latin  added  to  their 
Charms;  and  Plato  and  Aristotle  untranslated  were  frequent 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixxi 


Ornaments  of  their  Closets.  One  would  think  by  the  Effects, 
that  it  was  a  proper  Way  of  Educating  them,  since  there  are  no 
Accounts  in  History  of  so  many  truly  great  Women  in  any  one 
Age,  as  are  to  be  found  between  the  Years  1500  and  1600." 

This  judgment  of  the  education  of  women  during  the  Renais- 
sance is  that  of  William  Wotton,  in  his  Reflections  upon  Ancient 
and  Modern  Learning  (1694).  It  voices  the  soundest  and  the 
most  far-reaching  idea  of  the  sixteenth  century,  one  whose 
end  is  by  no  means  yet,  that  the  new  birth  was  the  enlighten- 
ment of  the  human  spirit.  The  great  men  of  the  Renaissance 
recognized  the  human  spirit  in  girls  as  well  as  boys;  they  gave 
to  their  sons  and  daughters  the  same  intellectual  training. 
What  the  Renaissance  idea  of  the  education  of  women  was,  in 
theory,  we  see  in  the  third  book  of  II  Cortegiano,  where  Giuliano 
de'  Medici  undertakes  to  fashion  the  gentlewoman  of  the  court. 
He  does  it  so  liberally,  imagining  such  a  bright,  sweet,  brave 
creature,  possessing  *'the  knowledge  of  all  things  in  the  world," 
together  with  "the  virtues  that  so  seldom  times  are  seen  in 
men,"  that  one  of  the  interlocutors,  Gaspare  Pallavicino,  won- 
ders why  he  will  not  have  women  to  rule  cities,  to  make  laws, 
and  to  lead  armies,  while  men  stand  spinning  in  the  kitchen. 
Giuliano  answers  smiling,  —  "Perhaps  this  too  were  not  amiss. 
Do  you  not  know  that  Plato,  which  was  not  very  friendly  to 
women,  giveth  them  the  overseeing  of  cities?" 

In  practice,  organized  education  of  the  sixteenth  century 
was  aristocratic  and  masculine,  accessible  to  the  few  only  and 
to  men  only.  Still  Elizabethan  schools  —  the  universities  and 
the  colleges  within  them  —  by  massing  teaching  and  reducing 
its  cost,  did  enable  some  commoners,  in  favorable  circumstances, 
to  get  an  education.  But  all  institutions,  both  of  secondary 
and  higher  education,  barred  their  doors  to  women.  That  made 
the  education  of  women  even  more  aristocratic  than  that  of 
men,  for  only  noblemen  and  families  of  considerable  means 
could  afford  to  employ  tutors  for  girls.  The  learned  ladies  of 
Elizabeth's  time,  without  exception,  were  the  daughters  of 
great  nobles  or  of  gentlemen  of  distinguished  social  position. 


Ixxii    ITALIAN  RENAISSANCE  IN  ENGLAND 


Sir  Thomas  More's  daughters,  Margaret  More  Roper,  Eliza- 
beth More  Daunce,  CeciUa  More  Heron,  and  their  kinswoman, 
Margaret  Giggs  Clement,  all  took  eagerly  the  classical  educa- 
tion he  gave  them  by  tutors.  Erasmus  dedicated  his  commen- 
taries on  Prudentius's  hymns  to  his  friend  and  correspondent, 
Margaret  More  Roper,  and  called  her  "the  fiower  of  all  learned 
matrons  in  England." 

Sir  Anthony  Cooke,  tutor  to  King  Edward  VI,  himself  taught 
his  five  daughters  and  four  sons,  the  children  all  coming  under 
the  same  mental  discipline.  The  daughters  all  made  great  mar- 
riages, three  of  them  very  great  marriages.  Mildred  Cooke, 
the  eldest,  was  the  second  wife  of  William  Cecil,  Lord  Burghley ; 
Anne  Cooke,  the  second  daughter,  became  the  second  wife  of 
Sir  Nicholas  Bacon  and  the  mother  of  Sir  Francis  Bacon.  She 
read  Latin,  Greek,  Italian,  and  French,  "as  her  native  tongue," 
and  has  the  reputation  of  being  the  most  learned  woman  of 
her  time;  Elizabeth  Cooke  married,  first.  Sir  Thomas  Hoby, 
ambassador  to  France  and  translator  of  II  Cortegiano,  and 
second,  John,  Lord  Russell,  second  son  of  Francis  Russell, 
second  Earl  of  Bedford. 

Some  of  the  families  whose  educated  daughters  became  dis- 
tinguished women  were  the  noble  houses  of  Sackville,  Seymour, 
Sidney,  Spencer,  and  Talbot.  Many  of  these  women  were  not 
only  generous  but  discerning  patrons  of  men  of  letters.  Dedi- 
cations of  books  to  noble  ladies  are  full  of  tributes  to  their 
intelligence  and  their  virtues  and  make  known  how  great  their 
influence  was  on  Elizabethan  literature.  Queen  Elizabeth  natu- 
rally leads  the  patrons  of  literature,  and  many  books  were 
dedicated  to  her,  both  by  English  authors  and  by  foreigners 
who  wished  to  commend  themselves  to  her  notice.  Next  to 
Elizabeth,  in  generous  friendliness  to  the  literary  art,  stand 
three  Sidney  women.  To  Lady  Mary  Sidney,  mother  of  Philip 
and  Mary  Sidney,  Geoffrey  Fenton  dedicated  Certaine  Tragicall 
Discourses,  in  1567.  To  another  lady  of  the  Sidney  family, 
Dorothy  Sidney  Spencer  Smythe,  Countess  of  Sunderland, 
granddaughter  of  Robert  Sidney,  brother  of  Philip  and  Mary 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixxiii 


Sidney,  James  Howell  dedicated,  in  1648,  A  Venice  Looking- 
Glass.  Dorothy  Sidney  was  Edmund  Waller's  "Saeharissa," 
and  the  inspiration  of  his  lyrics.  Go,  Lovely  Rose,  and  On  a 
Girdle. 

After  Queen  Elizabeth,  more  books  were  dedicated  to  Mary 
Sidney  Herbert,  Countess  of  Pembroke,  than  to  any  other 
Elizabethan  lady.  Mary  Sidney  was  carefully  educated  by 
private  tutors,  and  shared  her  brother  Philip's  love  of  study 
and  turn  for  literature.  Her  marriage  to  the  Earl  of  Pembroke 
did  not  break  off  their  intellectual  comradeship,  for  Philip 
Sidney  often  stayed  with  his  sister  at  Wilton.  There  she  col- 
lected a  library  which  contained  a  large  number  of  Italian 
books.  Sidney  began  his  Arcadia  at  her  desire  and  suggestion 
while  he  was  spending  the  summer  of  1580  with  her  at  Ivy 
Church,  a  small  house  of  hers  near  Wilton.  After  Sir  Philip 
Sidney's  death  his  sister  completed  and  edited  the  romance, 
which  he  had  named  for  her.  The  Countess  of  Pembrokes  Arcadia. 
Mary  Sidney  was  "Urania  sister  unto  Astrophel"  in  Colin 
Clouts  Come  Home  Againe,  but  in  Astrophel  Spenser  named  her 
elegiac  poem,  The  Dolefull  Lay  of  Clorinda.  Spenser  dedicated 
to  her  The  Ruines  of  Time  and  one  of  the  sonnets  prefixed  to 
The  Faerie  Queene.  Abraham  Fraunce  inscribed  two  transla- 
tions from  the  Italian  to  her.  Daniel,  who  was  tutor  to  her  son, 
William  Herbert,  third  Earl  of  Pembroke,  said  she  "first  en- 
couraged and  framed  "  him  to  the  pursuit  of  literature.  Court- 
hope  conjectures  that  Mary  Sidney  paid  the  expenses  of 
Daniel's  Italian  journey,  in  order  to  fit  him  for  the  position  she 
expected  him  to  hold  in  her  household  on  his  return,  and  thinks 
that  when  Daniel  dedicated  his  sonnet-cycle  Delia  to  the 
Countess  of  Pembroke,  he  was  merely  inscribing  the  name  of 
his  benefactor  on  a  work  of  which  she  was  the  real  inspiration. 
Mary  Sidney  succored  Nicholas  Breton  in  distress,  and  he 
expresses  passionate  devotion  to  her  in  The  Pilgrimage  to  Para- 
dise coyned  with  the  Countess  of  Pembrokes  Loue.  She  was 
Pandora  of  Drayton's  Idea:  The  Shepheards  Garland,  while  a 
crowd  of  lesser  poets  sing  her  praises,  Thomas  Watson,  Thomas 


Ixxiv   ITALIAN  RENAISSANCE  IN  ENGLAND 


Churchyard,  Thomas  Nash,  Barnabe  Barnes,  Thomas  Morley, 

John  Davies  of  Hereford,  and  others.  Mary  Sidney  has  no 

monument  in  Sahsbury  Cathedral;  she  needs  none,  for  the 

Spenserian  lyrist,  William  Browne,  has  enshrined  her  memory 

in  imperishable  verse,  — 

Underneath  this  sable  hearse 
Lies  the  subject  of  all  verse, 
Sidney's  sister,  Pembroke's  mother: 
Death,  ere  thou  hast  slain  another. 
Fair,  and  learned,  and  good  as  she. 
Time  shall  throw  a  dart  at  thee. 

There  were  four  learned  ladies  of  the  Spencer  family  of 
Althorp;  Anne  Spencer  Stanley  Sackville,  Countess  of  Dorset, 
Alice  Spencer  Stanley  Egerton,  Countess  of  Derby,  Elizabeth 
Spencer,  Lady  Carey,  and  Lady  Carey's  daughter,  Elizabeth 
Carey,  Lady  Berkeley.  Anne,  Elizabeth,  and  Alice  Spencer 
were  daughters  of  Sir  John  Spencer  of  Althorp.  To  each  of 
these  ladies,  his  kinswomen,  Spenser  dedicated  a  poem  of  his 
Complaints;  to  Anne  Spencer,  Mother  Hubberds  Tale,  to  Eliza- 
beth Spencer,  The  Fate  of  the  Butterfliey  and  to  Alice  Spencer, 
The  Teares  of  the  Muses.  WTiatever  the  relationship  was,  the 
dedication  of  this  poem  shows  that  the  Althorp  Spencers 
acknowledged  it.  Spenser  wrote  to  Alice  Spencer,  then  Lady 
Strange,  that  she  deserved  to  be  honored  by  him,  both  for  her 
"particular  bounties,"  and  for  "some  private  bands  of  affin- 
itie,  which  it  hath  pleased  your  Ladiship  to  acknowledge." 

It  is  Alice  Spencer,  Countess  of  Derby,  of  whom  Thomas 
Warton  wrote,  "The  peerage-book  of  this  countess  is  the  poetry 
of  her  time."  Warton  was  thinking  of  the  unique  distinction  of 
a  lady  to  whom  Spenser  dedicated  in  her  youth  The  Teares  of 
the  Muses  (1591),  and  who  lived  to  have  Milton  write  Arcades 
for  an  Entertainment  to  her  at  her  house  at  Harefield  (about 
1635).  Warton  might  well  have  said  'the  peerage-book  of  this 
countess  is  the  literature  of  her  time,'  for  Elizabethan  litera- 
ture is  studded  all  over  with  dedications,  epistles,  and  poetical 
laudations,  which  the  Countess  of  Derby  shared  with  her  two 
husbands,  with  her  three  daughters,  and  with  her  grandchildren. 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixxv 


In  her  literary  and  social  influence,  the  career  of  the  Countess 
of  Derby  in  Elizabethan  England  most  nearly  reflects  that  of 
Isabella  d'  Este,  Marchioness  of  Mantua,  in  Renaissance  Italy. 
A  series  of  most  interesting  dedications  and  literary  memora- 
bilia attest  the  interest  in  letters  of  the  Countess  of  Derby 
and  her  daughters  and  grandchildren.  They  also  make  it  clear 
that  Alice  Spencer  was  a  discerning  patron  of  literature,  attract- 
ing to  her  men  of  real  genius  and  holding  their  allegiance  as 
long  as  she  lived.  In  her  train,  we  find  Spenser,  Milton,  Lyly, 
Ben  Jonson,  Marston,  John  Davies  of  Hereford,  Carew,  Henry 
Lawes,  Inigo  Jones,  Jeremy  Taylor,  and  Lord  Herbert  of 
Cherbury.  Comus  was  written  for  the  inauguration  of  her  son- 
in-law,  the  Earl  of  Bridgewater,  as  President  of  Wales,  and 
the  original  actors  were  her  grandchildren.  The  foundations 
of  the  great  library  of  Bridgewater  House  were  laid  by  her 
second  husband.  Lord  Chancellor  Ellesmere.  This  library  is 
still  in  existence  and  some  of  its  choicest  treasures  are  the  books 
personally  presented  to  the  Countess  of  Derby  by  the  Eliza- 
bethan men  of  letters  she  befriended.  In  art,  one  of  the  most 
famous  portraits  of  Shakspere,  the  Chandos  portrait,  was 
finally  preserved  for  posterity  by  the  family  of  Alice  Spencer. 
After  a  checkered  career,  this  celebrated  portrait  came  into 
the  hands  of  James  Brydges,  third  Duke  of  Chandos,  through 
whose  daughter  it  passed  to  her  husband,  the  Duke  of  Bucking- 
ham; the  Earl  of  Ellesmere  bought  it  of  the  estate  of  the  Duke 
of  Buckingham,  and  presented  it  to  the  English  nation,  in  1848. 
The  Duke  of  Chandos  was  a  descendant  of  the  Countess  of 
Derby's  third  daughter,  and  the  Earl  of  Ellesmere,  of  her 
second  daughter. 

Curiously  enough,  the  Countess  of  Derby's  estate  of  Hare- 
field  Manor  is  indissolubly  connected  with  English  literature 
through  the  Newdigate  Prize  for  poetry  at  Oxford  University. 
Harefield  Manor  had  been  in  possession  of  the  Newdigate 
family  or  their  forebears  from  time  immemorial,  when,  in  1585, 
John  Newdigate  sold  it  to  Sir  Edmund  Anderson.  In  1601,  Sir 
Edmund  Anderson  conveyed  Harefield  to  the  Lord  Keeper, 


Ixxvi    ITALIAN  RENAISSANCE  IN  ENGLAND 


Sir  Thomas  Egerton,  to  his  wife,  AKce,  Countess  of  Derby,  and 
to  her  daughters  after  her.  The  Newdigates  bought  the  manor 
back  from  the  estate  of  the  Countess  of  Derby's  grandson, 
Lord  Chandos,  in  1675.  In  1805,  Sir  Roger  Newdigate,  fifth 
Baronet  of  Harefield,  left  a  thousand  pounds  by  will  to  Oxford 
University  to  establish  an  annual  prize  for  poetry.  The  Newdi- 
gate Prize  has  been  awarded  more  than  a  hundred  times,  and 
many  of  the  prizemen  have  achieved  distinction  in  English  let- 
ters, John  Wilson  ("  Christopher  North  "),  Dean  Milman,  Dean 
Stanley,  John  Ruskin,  Sir  Edwin  Arnold.  Two  of  the  Newdi- 
gates have  filled  the  chair  of  poetry  at  Oxford  —  Matthew 
Arnold  and  John  Campbell  Shairp.  In  1912,  the  Newdigate 
Prize  crossed  the  Atlantic  ocean  and  was  won  by  a  Rhodes 
scholar  from  Massachusetts,  for  a  poem  on  King  Richard  the 
First  before  Jerusalem.  Indirectly  the  American  Newdigate 
links  the  prosaic  world  we  live  in  to  the  great  poetry  of  the 
Elizabethan  age. 

The  most  learned  lady  of  the  Russell  family  was  Lucy 
Harington,  first  cousin  once  removed  to  Sir  John  Harington, 
and  wife  of  Edward  Russell,  third  Earl  of  Bedford.  Lucy 
Harington's  patronage  of  literature  began  in  her  girlhood, 
when,  in  1583,  Claudius  Holyband,  probably  her  tutor  in  lan- 
guages, dedicated  to  her  his  polyglot  grammar,  Campo  di  Fior: 
or  else  The  Flowrie  Field  of  Foore  Languages  (Latin,  French, 
Italian,  and  English) .  Ten  years  later  as  Countess  of  Bedford, 
she  was  *  Idea,'  — 

Great  Lady,  essence  of  my  chiefest  good. 
Of  the  most  pm"e  and  finest  tempred  spirit, 

who  inspired  Michael  Drayton's  Idea:  The  Shepheards  Garland 
(1593)  and  Ideas  Mirrour  (1594).  Drayton  was  but  one  of 
the  many  poets,  wits,  and  courtiers  who  met  in  her  salon  at 
Twickenham.  At  the  court  of  James  I  the  Countess  of  Bedford 
was  the  "cynosure  of  courtly  eyes,"  her  popularity  and  her 
good  offices  to  men  of  letters  continuing  unabated  during  two 
reigns.  The  best  writers  of  her  day  vie  with  one  another  in 
singing  her  praises.  Apart  from  conventional  flattery,  their 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixxvii 


judgments  of  her  character  present  Lucy  Harington  to  us  as  a 
brilliant  woman,  meeting  life  adequately  in  many  different 
aspects,  quite  in  the  manner  of  the  great  ladies  of  the  Italian 
Renaissance. 

Lodge  dedicated  A  Marguerite  of  America,  "To  the  noble, 
learned  and  vertuous  Ladie,  the  Ladie  Russell,"  "our  English 
Sappho.'*  One  of  the  sonnets  prefixed  to  Chapman's  transla- 
tion of  the  Iliad  is  addressed,  "To  the  right  noble  patroness 
and  grace  of  virtue,  the  Countess  of  Bedford."  Among  the 
sonnets  "in  Honor  of  many  noble  and  worthy  Persons,"  of 
John  Davies  of  Hereford,  is  one  "To  honor,  wit,  and  beauties 
excellency,  Lucy,  Countesse  of  Bedford."  Sir  Thomas  Roe, 
ambassador  to  India,  bears  witness  that  the  Countess  of  Bed- 
ford was  wonderfully  informed  on  "ancient  medals,"  while 
Sir  William  Temple  extols  her  for  having  "projected  the  most 
perfect  figure  of  a  garden  he  ever  saw." 

John  Donne  is  distinguished  among  Elizabethan  poets  by 
subtlety  of  thought  and  refinement  of  manner.  It  may  be  that 
it  is  because  of  these  two  qualities  that  he  rises  above  them 
also  in  appreciation  of  good  women.  Donne's  lyrics  to  his  wife, 
Anne  More,  are  genuine  love  poems.  Izaac  Walton  describes 
Donne's  lifelong  friendship  for  Magdalen  Herbert,  George 
Herbert's  mother,  as  an  "  amity  made  up  of  a  chain  of  suitable 
inclinations  and  virtues";  Magdalen  Herbert  was  the  subject 
of  Donne's  beautiful  elegy.  The  Autumnal^  beginning 

No  Spring,  nor  Summer's  beauty  has  such  grace. 
As  I  have  seen  in  one  autumnal  face. 

To  the  Countess  of  Bedford  Donne  wrote  seven  characteristic 
and  interesting  poems.  One,  describing  conventional  sighs  and 
tears  in  Twickenham  Garden,  is  in  the  artificial  Elizabethan 
style.  The  other  six  are  all  fine  and  sincere;  their  spirit  is 
expressed  in  the  noble  lines,  — 

Madam, 

You  have  refined  me;  and  to  worthiest  things. 
Virtue,  art,  beauty,  fortune,  now  I  see 
Rareness  or  use,  not  nature,  value  brings. 


Ixxviii   ITALIAN  RENAISSANCE  IN  ENGLAND 


The  thought  anticipates  Steele's  tribute  to  Lady  Elizabeth 
Hastings,  —  *'to  love  her  is  a  liberal  education."  ^ 

Ben  Jonson's  tribute  to  the  Countess  of  Bedford  is  a  model 
of  good  feeling,  good-breeding,  and  respect.  It  ends,  — 

Only  a  learned  and  a  manly  soul 
I  purposed  her,  that  should,  with  even  powers. 
The  rock,  the  spindle,  and  the  shears  control 
Of  Destiny,  and  spin  her  own  free  hours. 
Such  when  I  meant  to  feign,  and  wished  to  see. 
My  Muse  bade  Bedford  write,  and  that  was  she. 

Another  great  lady  of  the  Russell  family  was  Anne  Clifford, 
granddaughter  of  the  second  Earl  of  Bedford,  and  wife,  first,  of 
Richard  Sackville,  second  Earl  of  Dorset,  and  second,  of  Philip 
Herbert,  fourth  Earl  of  Pembroke  and  Montgomery.  Anne 
Clifford's  education  was  directed  by  her  mother,  Margaret 
Russell,  Countess  of  Cumberland,  who  employed  Samuel 
Daniel  to  tutor  her  little  girl  of  nine  or  ten  at  Skipton  Castle. 
This  was  in  1599;  in  1603,  Daniel,  still  teaching  Lady  Anne 
Clifford,  wrote  a  poetical  epistle  to  Lord  Chancellor  Ellesmere, 
bewailing  his  "misery,  that  whilst  I  should  have  written  the 
actions  of  men,  I  have  been  constrained  to  live  with  children." 
Beside  Daniel's  complaint  should  stand  Lady  Anne's  apprecia- 
tion of  her  tutor.  A  large  family  picture  of  the  Cliffords  at 
Appleby  Castle  preserves  Daniel's  portrait  next  that  of  Lady 
Anne  Chfford,  while  a  detail  of  the  painting  shows  a  shelf  on 
which  Daniel's  poetical  works  stand  beside  Spenser's.  After 
Daniel's  death,  Anne  Clifford,  then  Countess  of  Dorset,  built 
a  monument  to  him  in  Beckington  church,  Somerset.  John 
Donne  paid  tribute  to  Daniel's  teaching  when  he  said  of  Anne 
Clifford,  "she  knew  well  how  to  discourse  of  all  subjects,  from 
predestination  to  slea-silk."  Anne  Clifford  was  a  great  heiress, 
and  like  Bess  of  Hardwick,  she  was  one  of  the  busiest  builders 
in  Elizabethan  England.  Besides  the  memorial  to  Daniel,  she 
erected  Spenser's  monument  in  Westminster  Abbey.  She  re- 
built or  restored  her  six  castles  of  Skipton,  Appleby,  Brougham, 
Brough,  Pendragon,  and  Bardon  Tower;  in  ecclesiastical  archi- 
1  The  Tatler,  No.  49. 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixxix 


lecture  the  churches  of  Appleby,  Skipton,  and  Bongate  and  the 
chapels  of  Brougham,  Ninekirks,  Mallerstang,  and  Barden  are 
of  her  construction. 

Horace  Walpole  contributed  to  the  World,  5  April,  1753,  an 
anecdote  of  Anne  Clifford  of  right  Elizabethan  ring,  ^^^len 
Sir  Joseph  Williamson,  secretary  of  state  to  Charles  II,  wrote 
to  her  naming  a  candidate  for  her  pocket  borough  of  Appleby, 
Anne  Clifford  replied,  — 

"  I  have  been  bullied  by  an  usurper,  I  have  been  neglected 
by  a  court,  I  will  not  be  dictated  to  by  a  subject;  your  man 
shan't  stand. 

"Anne  Dorset,  Pembroke  and  Montgomery." 

A  remarkable  Elizabethan  lady  was  Dorothy  Wadham, 
founder  of  Wadham  College,  Oxford.  She  was  born  Dorothy 
Petre,  eldest  daughter  of  Sir  William  Petre,  whose  able  diplo- 
macy, "smooth,  reserved,  resolved,  yet  obliging,"  served  the 
English  crown  through  the  four  reigns  of  Henry,  Edward,  Mary 
and  Elizabeth.  After  the  death  of  her  husband,  Nicholas 
Wadham,  in  1609,  Dorothy  Wadham,  at  the  age  of  seventy- 
five,  determined  to  found  a  college  in  Oxford  as  a  joint  memorial 
of  her  husband  and  herself.  By  1613,  when  Dorothy  Wadham 
was  seventy-nine  years  old,  Wadham  College  was  built  and 
opened.  Dorothy  Wadham  herself  never  saw  Wadham  College, 
but  from  its  foundation  until  her  death,  in  1618,  at  the  ripe 
age  of  eighty-four,  she  most  effectually  controlled  the  col- 
lege. 

She  retained  all  power  and  patronage  in  her  own  hands. 
Once  a  year  she  re-appointed  the  college  oflficers,  causing  all 
posts,  except  that  of  sub-warden,  to  rotate.  The  sub-warden 
was  a  permanent  officer,  but  he  was  a  man  of  her  own  choosing 
and  acted  merely  as  her  steward.  Through  him  she  distributed 
scholarships  to  her  friends  and  retainers,  engaged  servants, 
and  managed  Wadham  College  precisely  as  if  it  were  a  piece 
of  her  personal  property,  as  in  fact  it  was.  The  letters  of 


Ixxx     ITALIAN  RENAISSANCE  IN  ENGLAND 


Dorothy  Wadham,  from  1609  to  1618,  are  of  unusual  inter- 
est, from  the  insight  they  give  into  EKzabethan  domestic 
economy.^ 

X 

The  ItaKan  Renaissance  was  made  known  to  the  Elizabe- 
thans by  more  than  two  hundred  and  forty  English  translators, 
including  directly  or  indirectly,  every  considerable  writer  of 
the  period.  Bacon  is  not  here  in  English,  but  his  friend.  Sir 
Tobie  Matthew,  the  most '  Italianated '  Englishman  of  his  time, 
translates  the  Moral  Essays  into  Italian,  and  dedicates  them 
to  Cosimo  II  de'  Medici,  Grand  Duke  of  Tuscany,  eulogizing 
his  lifelong  friend  for  "having  all  the  thoughts  of  that  large 
heart  of  his  set  upon  adorning  the  age  in  which  he  lived,  and 
benefitting  as  far  as  possible  the  whole  human  race."  Shak- 
spere  is  not  here,  but  Shakspere  is  the  soul  of  the  romantic 
drama,  and  the  English  romantic  drama  not  only  went  to 
Italian  literature  for  subjects  and  ideas,  but  it  borrowed  from 
the  Italian  drama  much  of  its  machinery,  —  the  chorus,  the 
echo,  the  play  within  the  play,  the  dumb  show,  the  ghosts  of 
great  men  as  prologue,  apparatus  in  general,  and  physical  hor- 
rors ad  terrorem.  The  stories  of  fourteen  Shaksperean  dramas 
are  found  in  Italian  fiction,  and  several  other  plays  contain 
suggestions  from  it. 

The  Italian  authors  translated  were  practically  every  nota- 
ble Italian  author  of  the  Renaissance,  on  all  sorts  of  subjects. 
In  discovery  and  commerce,  Columbus  was  merely  the  last  of 
a  long  line  of  Italian  navigators,  who,  in  the  service  of  the 
western  nations,  sailed  into  distant  and  unknown  seas.  In 
history,  translations  of  the  great  vernacular  Italian  historians, 
Machiavelli,  Guicciardini,  and  Cardinal  Bentivoglio,  prepared 
the  way  for  the  English  Hall,  Grafton,  Stow,  and  Holinshed. 
In  politics.  Sir  Geoffrey  Fenton,  the  Earl  of  Monmouth,  and 

1  The  Letters  of  Dorothy  Wadham.  1609-1618.  Edited  by  Rev,  Robert 
Barlow  Gardiner,  with  Notes  and  Appendices,  1904. 


ITALIAN  RENAISSANCE  IN  ENGLAND  Ixxxi 


James  Hov/ell  follow  in  the  footsteps  of  Pietro  Sarpi,  Malvezzi, 
Botero,  and  Paruta.  Philosophy,  through  the  intrepid  spirit  of 
Bruno,  cast  off  forever  the  shackles  of  scholasticism  to  enter 
upon  its  inheritance  from  Italy,  and  it  was  the  England  of 
Elizabeth  that  gave  freedom  of  speech  to  Bruno.  The  Italian 
astronomers  reveal  the  secrets  of  the  skies,  and  Milton  travel- 
ling in  Italy,  seeks  out  and  visits,  at  Arcetri,  the  greatest  of 
them,  "the  famous  Galileo,  grown  old,  a  prisoner  to  the  Inqui- 
sition, for  thinking  in  astronomy  otherwise  than  the  Franciscan 
and  Dominican  licensers  thought."  Teofilo  Folengo,  Trajano 
Boccalini,  Paolo  Giovio,  and  Poggio-Bracciolini  helped  at  least 
to  make  known  to  the  more  sombre  English  the  sunny  smile  of 
humor  and  the  rapier  thrust  of  wit.  In  manners,  the  Italians 
of  the  sixteenth  century  had  all  Europe  for  their  pupils.  Delia 
Casa*s  Galateo  is  a  graceful  and  intelligent  guide  to  good  be- 
havior to  this  day,  and  //  Cortegiano  is  a  classic,  the  best  book 
on  manners  that  has  ever  been  written. 

Of  the  foreign  influences  that  contributed  to  English  thought  - 
during 

The  spacious  times  of  great  Elizabeth, 

unquestionably  the  Italian  was  the  strongest,  the  keenest,  and 
the  most  far-reaching. 


ELIZABETHAN  TEANSLATIONS 
FROM  THE  ITALIAN 

I 

ROMANCES  IN  PROSE 


ELIZABETHAN  TKANSLATIONS 
FKOM  THE  ITALIAN 


I 

ROMANCES  IN  PROSE 
1 

[1525.]  A  C,  mery  Talys. 

[Colophon:]  [Thus  endeth  the]  booke  of  A  C.  mery  [Talys. 
Emprynted  at]  London  at  the  Sygne  of  [the  Mere-mayde  at] 
powlys  gate  next  [to  Chepe-syde].  FoHo,  black  letter,  with  John 
Rastell's  device  and  name  on  the  last  page,  and  underneath: 
Cum  priuilegio  Regali.    £4  leaves. 

"A  translation  of  Les  Cent  Nouvelles  Nouvelles,  printed  at 
Paris  before  the  year  1500,  and  said  to  have  been  written  by 
some  of  the  royal  family  of  France,  but  a  compilation  from  the 
Italians,  was  licensed  to  be  printed  by  John  Waly  (Walley), 
in  1557,  under  the  title  ^A  Hundreth  mery  Tayles'  together 
with  *  The  freer  e  and  the  boye,  stans  puer  ad  mensam,  and  youthe^ 
charitey  and  humylite.'  It  was  frequently  reprinted,  is  men- 
tioned as  popular  in  Fletcher's  Nice  Valour  (v,  3) ;  and  in  The 
London  Chaunticleers,  so  late  as  1659,  is  cried  for  sale  by  a  bal- 
lad-vender, with  the  Seven  Wise  Men  of  Gotham  and  Scogan's 
Jests.'*    (Warton,  History  of  English  Poetry ,  lx.) 

Warton  and  the  early  Shakspere  commentators  supposed 
that  the  Hundred  Merry  Tales,  to  which  Beatrice  alludes.  Much 
Ado  About  Nothing  (ii,  1),  was  a  translation  of  Les  Cent  Nou- 
velles Nouvelles.  But  a  large  fragment  of  A  Hundreth  mery 
Tayles  was  discovered,  in  1815,  by  the  Rev.  J.  J.  Conybeare, 
Professor  of  Poetry  in  Oxford  University,  and  it  proved  to  be 
a  jest-book.  It  is  without  date,  but  was  first  printed  by  John 
Rastell,  about  1525,  folio,  24  leaves. 


4  ELIZABETHAN  TRANSLATIONS 


Edited,  in  1815,  by  Mr.  Samuel  Weller  Singer.  Conybeare 
discovered  it  in  the  covers  of  another  book,  where  it  had  served 
as  a  binder  to  form  the  boards.  A  perfect  copy,  28  leaves,  folio, 
black  letter,  and  dated  Nov.  22,  1526,  has  been  found  in  the 
Royal  Library,  Gottingen,  and  was  reprinted  in  1866,  by  Dr. 
Oesterley. 

The  allusion  in  Fletcher  is  plainly  to  a  jest-book,  and  Bea- 
trice's words  are,  —  *'that  I  had  my  good  wit  out  of  the  'Hun- 
dred Merry  Tales.*  Well,  this  was  Signior  Benedict  that  said 
so.'* 

3.  La  Fontaine's  Le  cocu,  battu  et  content.  Decameron,  vii,  7. 
See  The  Decameron  (1620). 

No.  5,  of  A  C.  Mery  Talys,  the  story  of  the  husband  who 
gained  a  ring  by  his  judgment,  is  found  in  the  Ducento  Novelle  of 
Celio  Malespini,  Part  i,  Novella  2,  printed  at  Venice,  1609,  4to. 
It  was  used  by  Webster  and  Dekker  in  Northward  Hoe  (i,  1). 

A  C.  mery  Talys  is  the  earliest,  and  the  best,  jest-book  in 
English. 

See  Certaine  Conceyts  and  leasts,  and  The  merry  Tales  of  the 
Mad  Men  of  Gottam. 

2 

[1549.]  Tales  and  quiche  answer es,  very  mery,  and  pleasant  to 
rede. 

[Colophon.]  Imprinted  at  London  in  Flete-strete,  in  the 
house  of  Thomas  Berthelet,  nere  to  the  Cundite,  at  the  sygne 
of  Lucrece.  Cum  priuilegio.  [About  1549.]  4to.  Black  letter. 
44  leaves.    Henry  Huth  owned  the  only  copy  known. 

Mery  Tales,  Wittie  Questions,  and  Quicke  Answeres.  Very 
-pleasant  to  he  Readde. 

Imprinted  at  London  in  Fleete  street  by  H.  Wykes.  1567. 
12mo.    Harleian  Catalogue.    140  anecdotes. 

Reprinted  in  the  Shakespeare  Jest-Books.  Vol.  i.  London. 
1864.    8vo.    Ed.  W.  Carew  Hazlitt. 

The  original  was  printed  by  Thomas  Berthelet,  without 
date  (about  1535),  4to  and  contained  114  anecdotes. 


ROMANCES  IN  PROSE 


5 


These  anecdotes  are  English,  classical,  and  Italian  or  French. 
I  give  a  list  of  those  manifestly  of  Italian  origin. 

23.  0/  Kynge  Lowes  of  France  and  the  hushandmany  which  is 
taken  from  Domenichi,  ''Facezie,  Motti,  e  Burhy  di 
Diuersi  Signori,  of  Lodovico  undecimo  re  di  Francia. 
Giraldi.  Gli  Hecatommithi,  vi,  9,  tells  the  story  of  Fran- 
cesco Valesiy  primo  re  di  Francia  di  tal  nome. 
"Lewis  the  eleventh  (of  that  name)  King  of  France 
took  notice,  and  bountifully  rewarded  a  decayed  gar- 
dener, who  presented  him  with  a  bunch  of  carrats." 
(John  Day,  Introduction  to  The  Parliament  of  Bees, 
printed  1641.) 

32.  The  oration  of  the  amhassadour  sent  to  Pope  Urban. 

37.  Of  the  friere  that  gave  scrowes  (scrolls)  agaynst  the  pesti- 
lence.   Scene,  Tivoli. 

Poggio,  Facetiae,  ccxxxiii.  De  ''BrevV  contra  pestem 
ad  collum  suspendendo. 

38.  Of  the  phisition  that  used  to  write  hylles  over  eve. 

An  Italian  physician  wrote  out  his  prescriptions  before- 
hand, and  kept  a  supply  by  him  in  a  bag.  When  a 
patient  came,  he  would  draw  one  out,  and  say,  — 

Prega  Dio  te  la  mandi  bona, 
"  Pray  God  to  send  thee  a  good  one." 

Poggio,  Facetiae,  cciii.  Facetum  medici  qui  sorte  mede- 
las  dabat. 
40.  Of  the  hermite  of  Padowe. 

Poggio,  Facetiae,  cxlii.  De  eremita  qui  multas  mulieres 
in  concubitu  habuit. 

51.  Of  the  inholders  wife  and  her  ii  lovers.  Scene,  Florence. 
Poggio,  Facetiae,  cclxvii.  Callida  consilia  Floren- 
tinae  foeminae  in  fadnore  deprehensae.  Decameron, 
VII,  6. 

52.  Of  hym  that  healed  franticke  men.    Scene,  Italy. 
Girolamo  Morlino,  Novella  lxxvii.   De  Medico  qui 
curabat  mente  captos. 


6  ELIZABETHAN  TRANSLATIONS 


Poggio,  Facetiae^  ii.  De  Medico  qui  dementes  et  insanos 
curabat. 

Straparola,  xiii,  1.  Maestro  Gasparino  medico  con  la 

sua  virtii  sanaua  i  pazzi. 
58.  Of  the  foole  that  thought  hym  self  deed.  Scene,  Florence. 

Poggio,  Facetiae y  cclxviii.  De  mortuo  vivo  ad  sepul- 

chram  deducto,  loquente  et  risum  movente.  Also,  Grazzini 

(II  Lasca),  Cena  Seconday  Novella  ii. 
60.  Of  him  that  sought  his  asse  and  rode  on  his  bach.  Scene, 

Florence. 

Poggio,  Facetiae^  lx.    Fabula  Mancini. 
This  anecdote  is  also  the  twelfth  tale  of  Les  Cent  Nou- 
velles  NouvelleSy  and  has  been  imitated  by  La  Fontaine 
in  the  fable  of  Le  Villageois  qui  cherche  son  veau. 
87.  Of  Dante's  answere  to  the  jester. 

Poggio,  Facetiae,  lvii.  Responsio  elegans  Dantis,  poetae 
Florentini. 

An  anecdote  of  Dante  while  living  with  Cane  della  Scala, 
Lord  of  Verona.  The  jester  is  clothed  in  purple  and  fine 
linen,  while  the  poet  is  proving, 

come  sa  di  sale 
Lo  pane  altrui,  e  com'  e  duro  calle 
Lo  scendere  e  7  salir  per  V  altrui  scale. 

II  Paradiso,  Canto  xvii,  58-60. 

91.  Of  the  excellent  paynter  that  had  foule  children.  Scene, 
Rome. 

93.  Of  the  marchaunt  of  Florence  called  Charles.  Scene, 
Rome. 

100.  Of  the  fryer  that  confessed  the  woman. 

"A  favorite  tale  with  the  early  Italian  novelists." 

(Dunlop,  History  of  Fiction,  ii,  364-365.) 

Poggio  has  four  variations  of  the  theme.  Facetiae, 

XLVi,  cxv,  cxLii,  and  clv. 
103.  Of  the  olde  man  that  put  him  selfe  in  his  sonnes  handes. 

The  original  of  this  tale  is  the  Fabliau  of  La  Honce 

Partie,  in  Barbazan's  collection.  It  is  told  by  Ortensio 


ROMANCES  IN  PROSE 


7 


Landi,  also,  in  his  Varii  Componimenti,  Venice.  1552. 
8vo.    It  is  a  sort  of  Lear  story. 
122.  Of  the  Italian  friar  that  should  preach  before  the  B.  of 
Rome  and  his  cardinals. 

The  witty  friar  was  Roberto  Caraccioli-Caraccioli, 
Bishop  of  Aquino,  called  Robert  Liciens,  born  1425. 
140.  What  an  Italyan  fryer  dyd  in  his  preachyng. 
Another  anecdote  of  Robert  Liciens. 

3 

[1550.]  The  goodli  history  of  the  .  .  .  Ladye  Lucres  of  Scene  in 
Tuskane,  and  of  her  lover  EurialuSy  etc.  [Translated  from  the 
Latin  of  Pope  Pius  IL] 

[London.  W.Copland?  1550  ?]  4to.  Black  letter.  British 
Museum. 

The  goodly  History  of  the  moste  noble  and  beautyful  Ladye 
Lucres  of  Siene  in  Tuskan,  &  of  her  lover  Eurialus,  verye  pleas- 
ant and  delectable  unto  the  reder. 

Impr.  by  John  Kynge.  1560.  8vo.  Black  letter.  Also,  1547. 
12mo.    1669.  1741. 

The  goodli  history  of  the  moste  noble  and  beautifull  Ladye 
Lucres  of  Siene  in  Tuskan,  and  of  her  lover  EurialuSy  verye  pleas- 
aunt  and  delectable  unto  the  reder.  Anno  Domini  m.d.  lxvii. 

Imprynted  at  London  in  Louthbury  by  me  Wyllyam  Cop- 
land.  12mo.    Black  letter.    62  leaves.  Pepysian. 

A  boke  of  ij  lovers  Euryalus  and  Lucressie  pleasaunte  and 
Dilectable. 

Entered  to  T.  Norton.    1569.    Stationers*  Register,  A. 

4 

The  m[ost]  excellle]n[t]  Historic  of  Euryalus  and  Lucresia. 
[Translated  from  the  Latin  of  Pope  Pius  II,  by  William 
Braunche.] 

T.  Creede  .  .  .  solde  by  W.  Barley,  London,  1596.  4to. 
British  Museum, 


8  ELIZABETHAN  TRANSLATIONS 


5 

The  Historie  of  Eurialus  and  Lucretia.  Written  in  Latine 
by  Eneas  Sylvius;  And  translated  into  English  by  Charles  Allen, 
Gent. 

Printed  at  London  by  Tho.  Cotes,  for  William  Cooke,  and 
are  to  be  sold  at  his  shop  neere  Furnivalls  Inne  Gate  in 
Holborne.    1639.    8vo.    60  leaves.  British  Museum. 

Charles  Aleyn,  or  Allen,  was  of  Sidney  Sussex  College,  Cam- 
bridge. 

De  duobus  amantibus,  Eurialo  et  Lucretia,  et  de  remedio 
amorisy  cum  epistola  retractoria. 

4to.    n.d.    n.p.   Venice.    1531.  8vo. 

The  Hystorie  of  the  most  noble  Jcnyght  Plasidas  [by  J.  Part- 
ridge] and  other  rare  pieces;  collected  {into  one  book)  by  Samuel 
Pepys  {and  forming  part  of  the  Pepysian  Library  at  Magdalene 
College,  Cambridge.)  [Edited  by  H.  H.  Gibbs.  With  colored 
illustrations.] 

[London.]  1873.  4to.  Roxburghe  Club. 

One  of  these  six  pieces  collected  by  Pepys,  the  third  one, 
occupying  the  greater  part  of  the  book,  and  prefaced  with  an 
important  introduction,  is  the  "goodli  history"  of  Lady  Lucres 
and  her  lover  Eurialus.  The  colored  illustrations  of  the  Rox- 
burghe edition  are  facsimiles  of  the  illustrations  of  the  early 
German  version  of  Lucres  and  Eurialus,  a  large  illuminated 
miniature  from  a  French  version,  and  of  the  binding  and  orna- 
ments of  the  Pepysian  volume. 

Lucrece  and  Eurialus  was  an  extremely  popular  romance, 
originally  written  in  Latin,  about  1440,  by  ^Eneas  Sylvius  Pic- 
colomini,  then  imperial  poet  and  secretary,  afterwards  Pope 
Pius  11. 

"It  went  through  twenty-three  editions  in  the  15th  century, 
and  was  eight  times  translated,  one  of  the  French  translations 
being  made  *k  la  pri^re  et  requeste  des  dames.'  A  German 
translation  by  Nicolaus  von  Wyle  [Augsburg,  1473.  4to]  is 
embellished  with  coloured  woodcuts  of  the  most  naive  and 


ROMANCES  IN  PROSE 


9 


amusing  description.  Three  English  translations  were  pub- 
lished, one  before  1550. 

"It  is  a  tale  of  unlawful  love,  and  tells  how  Lucrece,  a  mar- 
ried lady  of  Sienna,  fell  in  love  with  Eurialus,  a  knight  of  the 
court  of  the  Emperor  Sigismond.  It  is,  we  are  told,  a  story 
of  real  life,  under  fictitious  names."  (Jusserand,  The  English 
Novel  in  the  Time  of  Shakespeare,  p.  81.)  The  novel  is  said  to  be 
founded  on  a  love  adventure  at  Siena,  of  Kaspar  Schlick,  chan- 
cellor of  the  Emperor  Frederick  III. 

In  Robert  Laneham's  quaint  account  of  the  Kenilworth  fes- 
tivities, 1575,  he  tells  how  an  acquaintance  of  his,  one  Captain 
Cox,  a  mason  by  trade,  had  in  his  possession  "  Kyng  Arthurz 
book,  Huon  of  Burdeaus,  The  foour  suns  of  Aymon,  Bevis  of 
Hampton,  and"  —  mason  as  he  was,  this  same  Italian  novel  — 
"Lucres  and  Eurialus."  Captain  Cox,  Laneham  observes,  had 
"great  oversight  in  matters  of  storie." 

6 

1556.  The  Historic  of  Aurelio  and  of  Isahell,  doughter  of  the 
hinge  of  Schotlande,  nyewley  translatede  In  foure  langagies, 
Frenche,  Italien,  Spanishe,  and  Inglishe.  Cum  gratia  &  priui- 
legio.  [Colophon.] 

Impressa  en  la  muy  noble  villa  de  Anuers,  en  casa  de  Juan 
SteelsiOf  Ano  de  m.d.lvi.  Sm.  8vo.  British  Museum.  Bru- 
xelles.    1608.    8vo,  also  in  four  languages.   British  Museum. 

Dedicated  to  Margaret  Volschaten,  of  whom  a  woodcut  por- 
trait is  on  the  back  of  the  title. 

Historia  diA.et  Isabella  figliuola  del  re  di  Scotia.  Histoire  d*A. 
&d^  Isabel  Translated  into  Italian  from  the  Spanish  of  J.  deFlores 
by  Lelio  Aletifilo,  and  into  French  by  Gilles  Corrozet.  Ital.  and  Fr, 

G.  Corrozet.   Paris.    1546.    16mo.    British  Museum. 

Historia  di  A.et  Isabella,  nella  quale  si  disputa :  che  piii  dia 
occasione  di  peccare,  Vhuomo  alia  donna,  o  la  donna  a  V  huomo. 
Di  lingua  Spagnola  [of  J.  de  Flores]  tradotta  da  Lelio  Aletiphilo. 

Gabriel  Giolito  de*  Ferrari.  Vinegia.  1548.  8vo.  British 
Museum, 


10  ELIZABETHAN  TRANSLATIONS 


The  Biographie  Universelle  gives  the  title  of  the  first  edition 
of  Flores's  romance,  as,  Le  Historia  de  Cericel  y  Mirabella  con  la 
disputa  de  Torrellas  y  Bragayda.    Seville.  1524. 

Juan  de  Flores  certainly  wrote  a  novelette  with  a  similar 
plot  —  La  Historia  de  grisely  Mirabella  [Grisel  and  Mirabella] 
CO  la  disputa  d'  Torrellas  y  Bracyda  La  qual  copuso  Juan  de 
Flores  asu  amiga    [Sevilla.]    1524.    4to.    British  Museum. 

Warton  {History  of  English  Poetry^  Lx)  gives  L'Historie 
d^Aurelia  et  Isabella  en  Italien  et  Frangoise,  printed  at  Lyons 
by  G.  Rouille,  in  1555,  16mo,  and  says  that  the  romance  was 
printed  in  1556,  in  one  volume,  in  Italian,  French,  and  English, 
and  again  in  1588,  in  Italian,  Spanish,  French,  and  English.  I 
have  not  met  with  the  1588  edition,  but  I  find  the  following 
entries  in  the  Stationers'  Register ,  B :  — 

Histoire  de  Aurelio  et  Isabella  fille  de  Roy  d'Escoce  French, 
Italian  and  Englishe. 

Entered  to  Edward  White.    Aug.  8,  1586. 

The  Historye  of  Aurelio  and  of  Isabell,  Doughter  of  the  Kinge 
of  Scottes,  &c.  This  booke  is  in  foure  languages ,  viz.,  Italy  an, 
Spanishe,  Ffrenche  and  Englishe, 

Entered  to  Edward  Aggas.    Nov.  20,  1588. 

The  polyglot  editions  show  that  Aurelio  and  Isabell  was  a 
favorite  romance. 

According  to  Warton,  Shakspere's  The  Tempest  was  once 
thought  to  be  founded  on  it.  Fleay's  note  on  the  anonymous 
comedy,  Swetnam  the  Woman-hater  Arraigned  by  Women,  1620, 
4to,  is,  "The  plot  is  from  a  Spanish  book,  Historia  daAurelia  y 
Isabella  hija  del  Rey  de  Escotia,  &c.'*  Chronicle  of  the  English 
Drama,  Vol.  ii,  p.  332.  Fletcher  used  the  same  plot  in  his 
Women  Pleased,  c.  1620. 

7 

1557.  Circes.  Of  John  Baptista  Gello,  Florentyne.  Translated 
out  of  Italyon  into  Englysche,  by  Henry  Iden.  Anno  Domini 
M.D.L.vii.  Cum  privilegio  ad  imprimendum  solum.  [Colophon.] 

Imprinted  in  Poules  Church-yarde,  at  the  sygne  of  the  holye 


ROMANCES  IN  PROSE 


11 


Ghoste,  by  John  Cawoode,  Printer  to  the  Kinge  and  Quenes 
Maiesties.  1557.  8vo.  Black  letter.  British  Museum.  A  second 
edition  in  the  same  year,  1557.  8vo.  British  Museum.  1599. 
8vo. 

Dedicated  to  Lord  Herbert  of  Cardiff,  and  his  two  brothers, 
Edward  and  Henry,  to  whom  Iden  was  tutor. 

La  Circe.   Giovanni  Battista  Gelli.  Florence.   1549.  Svo. 

But  one  above  the  rest  in  speciall 
That  had  an  hog  been  late,  hight  Grill  by  name, 
Repined  greatly,  and  did  him  miscall. 
That  had  from  human  shape  him  brought  to  naturall. 
Spenser.  The  Faerie  Queeney  Bk.  ii.  Can.  xii.  Stanza  81. 

"  Mr.  Jortin  observes  {Remarks  on  Spenser ,  etc.,  1734)  that 
this  is  taken  from  a  dialogue  in  Plutarch,  inscrib'd  Ucpl  tov 
TOL  aAoya  Xoyio  XRW^^^-  >  where  Gryllus,  one  of  the  companions 
of  Ulysses,  transform'd  into  a  hog  by  Circe,  holds  a  discourse 
with  Ulysses,  and  refuses  to  be  restor'd  to  his  human  shape. 

"  Not  many  years  before  the  Faerie  Queene  was  written,  viz. 
1548,  Gelli  published  his  Circe,  which  is  declar'd  in  the  Preface 
to  be  founded  upon  the  Dialogue  of  Plutarch,  mention'd  by 
Mr.  Jortin.  Circe  soon  became  a  very  popular  book,  and  was 
translated  into  English  (as  likewise  into  other  languages)  in  the 
Year  1557,  by  one  Henry  Iden;  so  that,  probably,  Spenser  had 
red  it;  and  might  be  induc'd  to  consult  that  Dialogue,  from  its 
mention  in  the  preface."  (Warton,  Observations  on  The  Faerie 
Queene,  1754,  p.  258.) 

See  The  Fearfull  Fansies  of  the  Florentine  Couper.  1568. 

8 

1566.  The  Palace  of  Pleasure,  Beautified,  adorned  and  well 
furnished,  with  Pleasaunt  Histories  and  excellent  Nouells,  selected 
out  of  diuers  good  and  commendable  authors.  By  William  Painter 
Clarke  of  the  Ordinaunce  and  Armarie.  1566. 

Imprinted  at  London,  by  Henry  Denham,  for  Richard  Tot- 
tell  and  William  Jones.  4to.  Also,  1569.  4to.  1575.  4to. 
Black  letter. 


n  ELIZABETHAN  TRANSLATIONS 


Sixty  novels,  dedicated  to  Ambrose  Dudley,  Earl  of  War- 
wick, a  woodcut  of  whose  crest,  a  bear  and  ragged  staff,  is  on 
the  reverse  of  the  title-page. 

The  second  Tome  of  the  Palace  of  Pleasure y  conteyning  mani- 
folde  store  of  goodly  Histories,  Tragicall  matters  and  other  Morall 
argument,  very  requisite  for  delight  &  profit.  Chosen  and  selected 
out  of  diuers  good  and  commendable  Authors.  By  William  Painter, 
Clarke  of  the  Ordinance  and  Armarie.    Anno.  1567. 

Imprinted  at  London,  in  Pater  Noster  Howe,  by  Henrie 
Bynneman,  for  Nicholas  England.  4to.  Black  letter.  A  second 
edition  of  Vol.  ii  has  no  date  on  the  title-page.    [1575.]  4to. 

Thirty-four  novels,  dedicated  to  Sir  George  Howard. 

In  the  last  edition.  Vol.  i  contains  sixty-six  novels,  and  Vol.  ii, 
thirty-five,  making  one  hundred  and  one  tales  in  all.  Both  vol- 
umes. London.  1813.  4to  (Haslewood).  1890.  3  vols.  (Jacobs). 

Painter's  sources  in  Romance  literature  were  Boccaccio, 
Bandello,  Belleforest,  Ser  Giovanni  Fiorentino,  Straparola, 
Masuccio,  and  the  Queen  of  Navarre. 

I  find  forty-three  Elizabethan  plays  whose  plots  are  in  The 
Palace  of  Pleasure  ;  these  are  here  numbered  1-43. 

The  First  Tome. 
1.  3.  Mucius  Scaevola.    Livy,  n,  12,  13. 

1.  A  play  called  Mucius  Scevola  was  played  at  Windsor, 
Jan.  6,  1577.  Fleay.  History  of  the  Stage,  p.  380. 

1.  4.  Coriolanus.    Livy,  ii,  35,  seq. 

2.  Shakespeare  may  have  got  the  idea  of  the  dramatic 
possibilities  of  the  story  of  Coriolanus  from  Painter, 
though  he  filled  in  the  details  from  North's  Plutarch. 

1.  5.  Appius  and  Virginia.  Livy,  iii,  44,  47-57.  Ser  Gio- 
vanni.   II  Pecorone,  xx,  2. 

3.  a.  A  new  tragical  comedy  of  Apius  and  Virginia.  1575. 
By  R.  B. 

4.  b.  Appius  and  Virginia.    1654.    John  Webster. 

1.  7.  Croesus  and  Solon,  Herodotus,  i,  50,  seq.  Plutarch, 
Solon, 


ROMANCES  IN  PROSE 


13 


5.  Croesus.    1604.    William  Alexander,  of  Menstrie, 
Earl  of  Stirling. 

1.  11.  Cyrus  and  Panthea.  Xenophon  given  as  source  by 
Painter,  but  more  likely  Bandello.    iii,  9. 

6.  Warres  of  Cyrus,  King  of  Persia,  against  Antiochus, 
King  of  Assyria,  with  the  tragical  end  of  Panthea.  1594. 

1.  28.  Timon  of  Athens.    Plutarch.    Marc  Antonius  (prob- 
ably through  Amyot). 

7.  a.  There  is  a  play  of  Timon  before  Shakespeare's, 

and  printed  by  Hazlitt.  Also,  by  Dyce,  for  the 
Shakespeare  Society.  1842. 

8.  b.  Timon  of  Athens.   Shakspere.   c.  1607  (Dowden.) 

(c.  1606.  Fleay.) 
1.  33.  Rinaldo  of  Este.  Pantschatantra  {Fables  of  Bidyai), 
II,  IV.    Tr.  Theodor  Benfey,  183.    Boccaccio,  Deca- 
merone,  ii,  2. 

9.  The  Widow.    Ben  Jonson.    John  Fletcher.  Thomas 
Middleton.    1652.  4to. 

1.  38.  Giletta  of  Narbonne.    Boccaccio,  Decamerone,  iii,  9. 

10.  Airs  Well  that  Ends  Well.  Shakspere. 

1.  39.  Tancred  and  Gismonda.    Boccaccio,  Decamerone,  iv, 
1,    Certaine  Worthy e  Manuscript  Poems.  1597. 

11.  a.  Tancred.    Written  1586-7.    Sir  Henry  Wotton. 

12.  b.  Tancred  and  Gismund.  1592.  4to.  Robert  Wilmot. 

13.  c.  The  Cruel  Gift,  or  The  Royal  Resentment.  1717. 

12mo.    Susannah  Centlivre. 

14.  d.  Tancred  and  Sigismunda.    1745.     8vo.  James 

Thomson. 

1.  40.  Mahomet  and  Irene.  Bandello,  i,  10.  Boaistuau  (1559),  2. 

15.  a.  The  Turkish  Mahomet  and  Hiren  the  Fair  Greek. 

A  lost  play  by  George  Peele,  supposed  to  be  the 
Mahomet  of  Henslowe's  Diary,  Aug.  14,  1594. 

16.  b.  Osmund  the  Great  Turk  or  The  Noble  Servant.  1657. 

8vo.    Lodowick  Carlell. 

17.  c.  The  Unhappy  Fair  Irene.    1658.    4to.  Gilbert 

Swinhoe. 


14  ELIZABETHAN  TRANSLATIONS 


1.  42.  Didaco  and  Violenta.  Bandello,  i,  42.  Boaistuau 
(1559),  4. 

18.  Triumph  of  Death.    Folio.    1647.    Beaumont  and 
Fletcher's  Four  Plays  in  One. 

1.  46.  The  Countess  of  Salisbury.  Bandello,  ii,  37,  through 
Boaistuau  (1559),  i. 

19.  Edward  III.    1596,    4to.  Anonymous. 

1.  48.  Bindo  and  Ricciardo.  Herodotus,  ii,  121,  1-6.  Ser 
Giovanni,  II  Pecoroney  ix,  1.  Bandello,  i,  23. 

20.  Bendo  and  Ricardo.    Acted,  March  4,  1592.  Hens- 
lowe. 

1.  49.  Filenio  Sisterno.  Straparola,  Tredici  Notte  Piacevoli, 
II,  2. 

21.  Merry  Wives  of  Windsor. 

1.  57.  Wife  Punished.  Bandello,  iii,  18.  Machiavelli,  Is- 
torie  Fiorentine^  lihro  i.  Queen  Margaret,  Heytameron, 
32.  Belief orest,  iv,  19.  Whetstone,  Heptameron, 
3d  Day. 

22.  Alhovine,  King  of  the  Lombards.  1629.  4to.  Sir  Wil- 
liam Davenant. 

23.  The  Witch.    1788.    8vo.    Thomas  Middleton. 

1.  58.  President  of  Grenoble.  Bandello,  i,  35.  Queen  Mar- 
garet, Heptameron,  36. 

24.  Love's  Cruelty.    1640.    4to.    James  Shirley. 
1.  66.  Doctor  of  Laws.  Masuccio,  II  Novellino,  ii,  17. 

"Out  of  a  little  Frenche  book  called  Comptes  du 
Monde  Avantureux.'^ 

25.  a.  The  Dutch  Courtesan.    1605  .  4to.  John  Marston. 

26.  b.  The  Cuck-queanes  and  Cuckolds  Errants,  or  The 

Bearing-Down  the  Inn. 
Printed  by  the  Roxburghe  Club.  1824.  William  Percy. 

The  Second  Tome 
9>.  1.  The  Amazons.    Herodotus,  iv,  110. 

27.  A  Masque  of  Amazons  and  Knights  was  presented  Jan. 
11,  1579. 


tit 


ROMANCES  IN  PROSE 


15 


2. 3.  Timoclia  of  Thebes.   Plutarch,  Alexander,  through 
Amyot. 

28.  Timocleay  at  the  Siege  of  Thebes  (by  Alexander).  Revels 
Accounts.    Feb.  2,  1574. 

2.  7.  Sophonisba.  Livy,  Dec.  3,  lib.  10.  Nepos,  Hannibal. 
Polybius.    Appian.  Orosius. 

Petrarch,  Trionfi.  Bandello,  i,  41.  Trissino,  La 
Sofonisba.  1515.  Belleforest,  iii,  356.  Nicolas  de 
Montreux  (Olenix  du  Mont  Sacre),  La  Sophonisbe, 
1601.  Ralegh,  History  of  the  World,  v,  iii,  8.  - 

29.  a.  The  Wonder  of  Women,  or  Sophonisba  her  Tragedy. 

1606.    4to.    John  Marston. 

30.  b.  Sophonisba,  or  HannibaVs  Overthrow.    1676.  Na- 

thaniel Lee. 

31.  e.  Sophonisba.  Acted  Feb.  28,  1730.   James  Thom- 

son. Thomson's  Sophonisba  contained  originally 
a  feeble  line, 

*'0,  Sophonisba,  Sophonisba,  O!" 

which  made  the  town  merry  one  whole  season,  for 
some  wag  parodied  it  into 
*'0  Jemmy  Thomson!  Jemmy  Thomson,  O!" 

2.  14.  Zenobia  Queen  of  Palmyra.  Tacitus,  Annates,  xii,  51. 

32.  Zenobia  was  played  at  the  Rose,  March  9,  1592. 

2.  17.  Ansaldo  and  Dianora.  Cukasaptati.  Cf.  The  Forty  Ve- 
zirs,  c.  14.  Boccaccio,  Decamerone,  x,  5.  Chaucer, 
The  Canterbury  Tales:  Franklin's  Tale. 

33.  a.  Four  Plays  in  One.    Triumph  of  Honour.  1647. 

Folio.  Beaumont  and  Fletcher. 

34.  b.  The  Two  Merry  Milkmaids,  or  the  Best  Words  Wear 

the  Garland.    1620.    4to.    J.  C. 
2.  22.  Alexander  de  Medice  and  the  Miller's  Daughter.  Ban- 
dello, II,  15.    Belleforest,  i,  12. 

35.  The  Maid  of  the  Mill.  1647.  Foho.  John  Fletcher. 
2.  23.  The  Duchess  of  Malfy.  Bandello,  i,  26.  Belleforest, 

II,  19.  1569. 


16  ELIZABETHAN  TRANSLATIONS 


Goulart,  Histoires  Admirahles.  1600.  Beard,  The- 
atre of  God's  J udgementsy  ch.  22.  1597.  The  romance 
is  mentioned  in  The  Forrest  of  Fancy  (1579) ;  in  Whet- 
stone's Heptameron  of  Civill  Discourses.  Thefift  Daies 
Exercise  (1582) ;  and  in  Greene's  Gwydonius  the  Carde 
of  Fancie  (1584).  It  is  also  the  subject  of  a  Spanish 
play,  Lope  de  Vega's  Comedia  famosa  del  mayordomo 
de  la  duguesa  de  Amalfi. 

36.  The  Duchess  of  Malji.    1623.    4to.    John  Webster. 
2.  24.  The  Countess  of  Celant.  Bandello,  i,  4.  Belleforest. 

1565.    No.  20. 

Fenton,  Certaine  Tragicall  Discourses,  vii.  Whet- 
stone. 

Roche  of  Regard  {Castle  of  Delight). 

37.  The  Insatiate  Countess  (Barksted's  Tragedy).  1613. 
4to.    John  Marston. 

2.  25.  Romeo  and  Juliet.  Masuccio.  II  Novellinoy  33.  Luigi 
da  Porto.    Bandello,  ii,  9. 

38.  Romeo  and  Juliet.    1597.    4to.  Shakspere. 

2.  26.  Two  Ladies  of  Venice.  Bandello,  i,  15.  Belleforest, 
III,  58. 

39.  The  Insatiate  Countess  (Barksted's  Tragedy).  1613. 
4to.    John  Marston  (miderplot). 

2.27.  TheLordofVirle.  Bandello,  iii,  17.  Belleforest,  i,  13 
(f.  289,  in  Jacobs). 

Fenton,  Certaine  Tragicall  Discourses,  xi. 

39.  a.  The  Dumb  Knight.    1608.   4to.    Gervase  Mark- 

ham  and  Lewis  Machin. 

40.  b.  The  Queen,  or  The  Excellency  of  her  Sex,  1653. 

Anonymous. 
2.  28.  Lady  of  Bohemia.    Bandello,  i,  21. 

Whetstone.   Rocke  of  Regard  (Arbour  of  Vertue). 

41.  The  Picture.    1630.    4to.    Philip  Massinger. 

2.  30.  Salimbene  and  Angelica.  Ilicino.  Bandello,  I,  49. 
Fenton,  Certaine  Tragicall  Discourses,  i.  (Angelica 
Montanini  and  Anselmo  Salimbeni.) 


ROMANCES  IN  PROSE 


17 


42.  A  Woman  Killed  with  Kindness.  1607.  4to.  Thomas 
Hey  wood  (underplot). 

2.  34.  Sultan  Solyman. 

43.  A  Latin  tragedy  called  Solyman  was  acted  at  one  of 
the  Universities  in  1581.  Fleay,  History  of  the  Stage, 
421. 

See  Virgidemiarum  Sixe  Bookesy  1597,  and  The  De- 
cameron, 1620. 

9 

[1567.]  A  Pleasant  disport  of  diners  Noble  Personages:  Writ- 
ten in  Italian  by  M.  John  Bocace  Florentine  and  Poet  Laureate: 
in  his  Boke  which  is  entituled  Philocopo.  And  nowe  Englished  by 
E,  G, 

Imprinted  at  London,  in  Pater  Noster  Rowe,  at  the  signe  of 
the  Marmayd  [by  H.  Bynneman  for  Richard  Smith  and  Nicho- 
las England.  Anno  Domini.  1567].  4to.  58  leaves.  Black 
letter.    British  Museum  (title-page  mutilated). 

Dedicated  to  the  "right  worshipful!  M.  William  Rice  Es- 
quire." 

Thirteene  most  pleasaunt  and  delectable  questions,  entituled  A 
disport  of  diuers  noble  personages  written  in  Italian  by  M.  John 
Bocace,  Florentine  and  Poet  Laureate,  in  his  Booke  named  Philo- 
copo.   Englished  by  H.  G. 

These  bookes  are  to  be  solde  at  the  Corner  shoppe,  at  the 
North- weast  dore  of  Paules.  [Colophon.]  Imprinted  at  Lon- 
don, by  Henry  Bynneman  for  Rycharde  Smyth.  Anno.  1571. 
8vo.  Black  letter.  88  leaves.  Bodleian.  Also,  1587.  8vo.  88 
leaves.    Capell  Collection.    British  Museum. 

The  Huth  Library  Catalogue  states  that  there  were  four  edi- 
tions of  Philocopo  between  1567  (1566.^)  and  1587. 

H.  G.  is  commonly  supposed  to  be  Humphrey  Gifford,  author 
of  A  Posie  of  Gillojlowers,  1580,  but  it  has  been  suggested  that 
the  initials  may  stand  for  Henry  Granthan,  translator  of  Scipio 
Lentulo's  Italian  Grammer,  1575. 

Philocopo  (Filocopo)  is  a  remodelKng,  in  prose,  of  the  old 


18  ELIZABETHAN  TRANSLATIONS 


chivalric  metrical  romance,  Floire  et  Blancheflore,  a  favorite 
with  the  minstrels  of  France,  Italy,  and  Germany.  It  is  ex- 
tremely interesting  historically,  because  in  it  we  see  the  great- 
est of  story-tellers  actually  turning  a  metrical  romance  into  a 
novel. 

Boccaccio  says  that  he  was  incited  to  write  the  book  by  Maria 
d* Aquino,  "Fiammetta,"  a  supposed  natural  daughter  of  King 
Robert  of  Naples.  She  is  the  queen  of  the  Court  of  Love,  4th 
Book,  which  is  held  in  a  garden  near  Naples  upon  the  road  lead- 
ing to  the  tomb  of  Vergil. 

Two  of  the  *  questions'  of  the  fifth  book  of  Philocopo  were 
retold  by  Boccaccio  in  the  Decameron;  Quistione  xiii,  discusses 
the  generosity  of  Messer  Gentil  de'  Carisendi,  x,  4,  and  Quistione 
IV,  is  the  romance  of  Dianora  and  Ansaldoy  or  the  Enchanted 
Garden,  x,  5.  Chaucer  made  use  of  the  story  of  Dianora  and 
Ansaldo,  with  a  variation,  in  the  Franklin's  Tale  (Canterbury 
Tales).  It  also  furnished  the  theme  of  Beaumont  and  Fletcher's 
moral  representation.  Triumph  of  Honour,  or  Diana  (Four 
Plays  in  One,  1647,  folio),  which  Fleay  judges  to  be  the  work  of 
Beaumont  only. 

See,  for  Quistione  xiii,  Turberville's  Tragicall  Tales,  1576; 
for  Quistioni  iv  and  xiii,  Philotimus,  1583,  and  Orlando  inamo- 
rato, 1598. 

10 

1567.  Certaine  Tragicall  Discourses  written  oute  of  Frenche 
and  Latin,  by  Geffraie  Fenton,  no  lesse  profitable  than  pleasaunt, 
and  of  like  necessitye  to  al  degrees  that  take  pleasure  in  antiqui- 
ty es  or  forreine  reapportes.    Mon  heur  viendra. 

Imprinted  at  London  in  Flete-strete  nere  to  Sainct  Dunstons 
Churche  by  Thomas  Marshe.  Anno  Domini.  1567.  4to. 
Black  letter.  317  leaves.  British  Museum  (2  copies).  Also, 
1576.  4to  (Lowndes),  and  1579.  4to.  Black  letter.  Bodleian 
(2  copies) .    British  Museum, 

Dedicated  to  Lady  Mary  Sydney. 

Certain  Tragicall  Discourses  of  Bandello.    Translated  into 


ROMANCES  IN  PROSE 


19 


English  by  Geffraie  Fenton,  anno  1567.  With  an  Introduction  by 
Robert  Langton  Douglas.  The  Tudor  Translations,  xix  and  xx. 
1898. 

A  "passing-pleasant  booke,"  Turberville  says,  in  some  intro- 
ductory verses.  There  are  also  verses  prefixed  by  Peter  Bever- 
ley, author  of  the  metrical  romance,  The  Historic  of  Ariodanto 
and  leneura.  [1565-6.^] 

Warton  characterizes  Fenton's  Discourses  as  "the  most  capi- 
tal miscellany  of  its  kind."  There  are  in  all  thirteen  well 
selected,  well-told  stories,  whose  short  titles  it  is  quite  worth 
while  to  note. 

1.  A  wonderful  Vertue  in  a  gentleman  of  Syenna. 

This  is  a  translation  of  Ilicino's  celebrated  novella^  The 
Courteous  Salimbeni.  Bandello  tells  the  same  story,  i,  49. 
Belief orest,  21.    Painter,  ii,  30. 

The  tale  records  an  actual  occurrence  in  the  history  of 
the  two  noble  Sienese  families  of  Salimbeni  and  Mon- 
tanini.  Muratori  published  it  in  his  Rerum  Italicarum 
Scriptores.  (1723-1751.) 

The  underplot  of  Heywood's  comedy,  A  Womaji  Killed 
with  Kindness^  1607,  4to,  has  been  traced  to  this  novel. 

2.  Lyvyo  and  Camylla.  Bandello,  i,  33.  Belief  orest,  22. 

3.  A  yong  Lady  in  Mylan.    Bandello,  iii,  52.  Bellefor- 
est,  9. 

4.  An  Albanoyse  Capteine.   Bandello,  i,  51.  Belief  orest, 
10. 

5.  A  yonge  Gentleman  of  Myllan.   Bandello,  i,  28.  Belle- 
forest,  26. 

6.  The  Villennie  of  an  Abbot.  Bandello,  n,  7.  Belleforest, 
28. 

7.  The  Disordered  Lyf  of  the  Countesse  of  Celant.  Bandello, 
I,  4.    Belleforest,  20.    Painter,  ii,  24. 

It  is  the  source  of  Marston's  tragedy,  The  Insatiate  Coun- 
tess (Barksted's  Tragedy).    1613.  4to. 

8.  Julya  Drowneth  herself e.  Giulia  da  Gazuolo.  Bandello, 
I,  8.  Belleforest,  25. 


20  ELIZABETHAN  TRANSLATIONS 


9.  The  Lady  of  Chabrye.  Bandello,  ii,  33.  Belleforest,  16. 

10.  Luchyn  is  Longe  in  Love  wyth  a  Simple  Mayde.  Bandello, 
II,  26.    Belleforest,  34. 

11.  The  Crueltie  of  a  Wydowe.   Bandello,  iii,  17.  Bellefor- 
est, 13.    Painter,  ii,  27. 

The  incident  of  the  lady  swearing  her  lover  to  be  dumb 
for  three  years,  in  Fenton's  story,  occurs  in  two  Eliza- 
bethan dramas;  —  The  Dumb  Knight,  1613,  4to,  by  Ger- 
vase  Markham  and  Lewis  Machin,  and  the  anonymous 
tragi-comedy.  The  Queen,  or  The  Excellency  of  her  Sex, 
which  Alexander  Gough  edited  in  1653,  as  discovered 
by  a  "person  of  Honor." 

12.  Perillo  and  Carmosyna.  Bandello,  i,  14.  Belleforest,  27. 

13.  Dom  Diego  and  Genivera  La  Blonde.    Bandello,  i,  27. 
Belleforest,  18.    Painter,  ii,  29. 

This  tale  was  versified  by  Richard  Lynche  in  Diella, 
Certain  Sonnets,  adioyned  to  the  amorous  Poeme  of  Dom 
Diego  and  Gineura.  By  R.  L.  Gentleman. 
Benhalla,  a  chi  fortuna  suona.  (London,  1596.)  The 
poem  entitled  The  Loue  of  Dom  Diego  and  Gyneura  is  re- 
printed, edited  by  A.  B.  Grosart,  in  Occasional  Issues y 
Vol.  III.  1877. 

Fenton  translated  the  tales  from  Boaistuau-Belleforest's 
Histoires  Tragiques,  which  is  a  French  translation  of 
Bandello.  The  work  was  finished  in  Paris,  and  was  pub- 
lished by  the  author  as  the  first  fruits  of  his  travels. 

11 

1568.  A  brief e  and  pleasant  Discourse  of  Duties  in  Mariage, 
called  the  Flower  of  Friendshippe, 

Imprinted  at  London  by  Henrie  Denham,  dwelling  in  Pater 
noster  Rowe  at  the  Signe  of  the  Starre.  Anno  1568.  8vo.  40 
leaves.  Two  editions  within  a  year,  one  in  British  Museum, 
Also,  1571.  8vo.  Black  letter.  Bodleian,  1577.  16mo.  Bod- 
leian. 

w  The  dedication  to  Queen  Elizabeth  is  signed,  "Your  Maisties 


ROMANCES  IN  PROSE 


^1 


most  humble  Subject,  Edmonde  Tilnay."  Edmund  Tilney  was 
Master  of  the  Revels  for  nearly  thirty  years  from  1579  to  1608; 
John  Lyly  was  his  rival  and  waited  in  vain  for  the  succession. 
During  this  long  tenure  of  office  the  greatest  productions  of  the 
Elizabethan  drama,  including  most  of  Shakspere's  plays,  were 
submitted  to  him  in  manuscript,  for  criticism. 

This  book  is  a  discussion  of  marriage  after  the  manner  of  the 
Italian  Platonists.  A  house  party  is  assembled  at  Lady  Julia's 
and  some  of  the  gentlemen  propose  outdoor  sports:  "But 
M[aster]  Pedro  nothing  at  all  lyking  of  such  deuises,  wherein 
the  Ladies  should  be  left  out,  said  that  he  well  remembered  how 
Boccace  and  Countie  Baltisar  with  others  recounted  many 
proper  deuises  for  exercise,  both  pleasant,  and  profitable, 
which,  quoth  he,  were  used  in  the  courts  of  Italic,  and  some 
much  like  to  them  are  practised  at  this  day  in  the  Enghsh  court, 
wherein  is  not  only  delectable,  [sic]  but  pleasure  ioyned  wyth 
profite,  and  exercyse  of  the  witte." 

Pedro's  proposal  of  the  *  question '  prevails,  and  the  company 
meet  every  day  in  the  garden,  where,  under  the  rule  of  a  queen, 
they  discuss  marriage.  On  the  first  day,  Pedro  defends  mar- 
riage against  "a  mery  gentleman,  called  Maister  Gualter  of 
Cawne,"  relating  a  tale  of  a  faithful  husband,  entitled,  De  Con- 
jug  ali  Charitate:  De  Neapolitani  regni  quodam  accola,  Lib.  iv, 
Cap.  VI,  from  Baptista  Campofulgosus  (Fregoso),  Exemploruniy 
Hoc  est,  Dictorum  Factorumque  Memorabilium,  ex  certae  fidei 
ueterihus  et  recentiorihus  historiarum  probatis  AutorihuSy  Lib.  ix. 

The  subject  of  the  second  day's  discussion  is  "The  office,  or 
duetie  of  the  married  woman,"  and  Pedro  tells  a  story  of  a  wife's 
prudence  in  reclaiming  her  husband  from  evil  courses,  which  is 
found  in  Queen  Margaret's  Heptameron,  Novella  38,  Memorable 
charite  d'une  femme  de  Tours,  enuers  son  mary  putier.  It  is  one 
of  the  novels  of  Painter's  Palace  of  Pleasure,  i,  64. 

The  allusion  to  Boccaccio  doubtless  refers  to  Filocolo  which 
had  just  been  translated,  1567.  The  Courtyer  of  Count  Bal- 
dessar  Castilio  (Castiglione)  was  translated  in  1561  by  Sir 
Thomas  Hoby,  and  was  by  far  the  most  popular  EHzabethan 


22  ELIZABETHAN  TRANSLATIONS 


translation  from  the  Italian,  judging  by  the  number  of  editions 
it  went  through. 

12 

157L  The  Foreste;  or  Collection  of  Histories,  no  lesse  profitable^ 
then  pleasant  and  necessarie,  dooen  out  of  Frenche  into  Englische 
by  Thomas  Fortescue.  Aut  utiles  aut  jucundum,  aut  utrumque. 

Imprinted  at  London  by  Jhon  Kyngston,  for  Willy  am  lones. 
1571.  4to.  British  Museum.  1476  [1576].  4to.  British  Mu- 
seum.   1619.    Folio.    British  Museum. 

The  Forest  or  collection  of  Historyes  no  lesse  profitable  then 
pleasant  and  necessary,  doone  out  of  Frenche  into  English  by 
Thomas  Fortescue.  Aut  utile,  aut  iucundum,  aut  utrumq;  Scene 
and  allowed. 

Imprinted  at  London  by  John  Day  dwelling  over  Aldersgate. 
1576.    4to.    Black  letter. 

Dedicated  to  John  Fortescue,  Esquire,  Master  of  the  Queen's 
Wardrobe. 

The  first  license  of  this  collection  of  tales,  to  W.  Jones,  in 
1570,  is  said  to  be  with  the  authority  of  the  Bishop  of  London. 
I  find  another  license  in  Register,  C,  Nov.  8,  1596,  to  John 
Danter,  — 

"Entred  for  his  copie,  saluo  iure  Cuiuscunque  The  forest  or 
collection  of  histories  printed  by  John  Day  1576  provyded  that 
this  entrance  shalbe  voyd  yf  any  have  right  to  it  by  a  former 
entrance."  Drake,  Shakespeare  and  His  Times,  i,  p.  543,  says 
there  was  a  third  edition  in  1596. 

Silva  de  varia  leccion.   Pedro  Mexia. 

Seville.  1543. 

Translated  into  French  by  Claude  Gruget.  1552.  Trans- 
lated into  Italian  by  Francesco  Sansovino.    1564.  8vo. 

Silva  de  varia  lection  .  .  .  Anadido.  enella  la  quarta  parte,  etc. 

Valladohd.  1550-51.  Folio.  Gothic  letter.  British  Museum. 

On  the  verso  of  the  last  leaf  is  written  an  Italian  proverb, 
most  probably  in  the  handwriting  of  King  Edward  VI,  to  whom 
the  volume  belonged. 


ROMANCES  IN  PROSE 


23 


Marlowe  got  his  hero,  Tamburlainey  out  of  The  Foresty  al- 
though Perondinus's  Magni  Tamerlanisy  Scytharum  impera- 
toris  vita,  Florence,  1553,  gave  suggestions  as  to  the  descrip- 
tion of  Tamburlaine's  person. 

"The  genius  of  these  tales  may  be  discerned  from  their  his- 
tory. The  book  is  said  to  have  been  written  in  Spanish,  by 
Petro  de  Messia,  thence  translated  into  ItaKan,  thence  into 
French,  by  Claude  Gruget,  a  citizen  of  Paris,  and  lastly  from 
French  into  English,  by  Fortescue.  But  many  of  the  stories 
seem  to  have  originally  migrated  from  Italy  into  Spain." 
(Warton,  History  of  English  Poetry ,  lx.) 

13 

1613-19.  The  Treasurie  of  auncient  and  moderne  Times.  Con- 
taining .  .  .  collections,  .  .  .  Readings  and  .  .  .  Observations  .  .  . 
translated  out  of  .  .  .  P.[edro]  Mexia,  .  .  .  F.[rancesco]  Sansovino, 
.  .  .  A.[ntoine\  Du  Verdier  Seigneur  de  Vauprivaz,  etc.  [by 
Thomas  Milles].  Apxato-TrXovTo^,  containing  ten  following  bookes 
to  the  former  Treasurie,  etc.)    2  vols. 

W.  Jaggard,  London,  1613-19.  FoHo.  British  Museum  (an- 
other copy  of  Vol.  II  only). 

Pedro  Mexia's  book  was  his  Silva  de  varia  leccion.  Seville. 
1543.  It  was  translated  into  ItaHan  by  Mambrino  da  Fabriano, 
in  1547,  8vo,  by  L.  Manio,  in  1556,  and  by  Francesco  Sanso- 
vino, in  1564, — 

Selva  di  varia  lettione  .  .  .  divisa  in  tre  parti:  alle  quali  s*S 
aggionta  la  quarta  di  F.  Sansovino  .  .  .  dopo  questa  haveranno  in 
brevi  i  lettori  una  nuova  seconda  selva  non  piu  data  in  luce. 
[Edited  by  P.  Ochieri,  with  marginal  notes  by  C.  Passi.] 

Vinetia.    1564.    4to.    British  Museum. 

The  Silva  was  translated  into  English,  from  the  French,  by 
Thomas  Fortescue,  as  The  Foreste,  1571.  4to.  The  work  is  a 
medley  in  the  style  of  the  Nodes  Atticae,  of  Aulus  Gellius,  and  is 
wholly  without  sequence  or  arrangement. 

The  title  of  Du  Verdier's  collection  reads,  Les  diverses  Legons 
d'Antoine  Du  Verdier,  suiuans  celles  de  Pierre  Massie;  contenani 


24  ELIZABETHAN  TRANSLATIONS 


plusieurs  histoires,  discours  et  fails  memorablesy  recueillis  des 
auteurs  grecs,  latins^  et  italiens. 

Lyons.    1577.    8vo.    1592.    8vo.    British  Museum. 

The  Treasurie  of  Auncient  and  Modeme  Timesy  1619,  contains 
the  story  of  Romeo  and  Juliet.  See  The  Tragicall  Historye 
of  Romeus  and  Juliet  (1562)  and  The  Tragicall  Historie  of 
Romeus  and  Juliet  (1587). 

Painter,  Palace  of  Pleasurey  i,  29,  relates  The  marriage  of  a 
man  and  woman,  hee  being  the  husband  of  xx  wives :  and  she 
the  wife  of  xxii  husbandes.  He  tells  the  story  on  the  authority 
of  St.  Jerome's  Epistle  Ad  Gerontiam  viduam  de  monogamia, 
and  goes  on  to  say,  "  It  is  also  pretely  set  forth  by  Pietro  Messia 
de  Seviglia,  an  excellent  authour,  a  gentleman  of  Spaine,  in  the 
34  chapter  of  the  first  parte  of  his  worke,  called  La  Selva  di 
varie  Lezzioni.^' 

14 

1572.  A  Hundreth  sundrie  Flowres  bounde  up  in  one  small 
Poesie.  Gathered  partely  (by  translation)  in  the  fyne  outlandish 
Gardins  of  Euripides,  Quid,  Petrarke,  Ariosto,  and  others:  and 
partly  by  inuention,  out  of  our  owne  fruitefull  orchardes  in  Eng- 
lande:  Yelding  sundrie  sweete  sauours  of  Tragical,  Comical,  and 
Morall  Discourses,  both  pleasaunt  and  profitable  to  the  well 
smellyng  noses  of  learned  Readers.  Meritum  petere,  grave. 
[George  Gascoigne.] 

At  London.  Imprinted  [by  Henry  Bynneman]  for  Richarde 
Smith  [1572].  4to.  Black  letter.  British  Museum  {4i  copies) . 
Bodleian.   Emmanuel  College,  Cambridge. 

This  work  was  published  during  Gascoigne's  military  adven- 
tures in  Holland,  and  without  his  authority,  by  H.[enry?] 
W.[otton?],  who  had  obtained  the  manuscript  from  G.[eorge.'^] 
T.[urberville.?^]. 

It  contains  Supposes,  Jocasta,  and  A  discourse  of  the  adven- 
tures passed  by  Master  F.[erdinando]  /.[eronimi],  a  prose  tale 
from  the  Italian,  interspersed  with  a  few  lyrics. 

The  edition  of  1572  contains  a  poem  entitled,  A  Translation 


ROMANCES  IN  PROSE 


25 


of  Ariosto  Allegorized  (Canto  xxxiii,  59-64  stanzas).  See  The 
Life  and  Writings  of  George  Gascoigney  by  F.  E.  Schelling,  in  the 
Publications  of  the  University  of  Pennsylvania^  Philology ^  Liter- 
ature and  Archaeology^  Vol.  ii,  No.  4. 

A  second  edition  was  published  by  Gascoigne  himself,  in 
1575,  with  a  new  title. 

The  Posies  of  George  Gascoigne,  Esquire.  Corrected ,  perfected^ 
and  augmented  by  the  authour.  [1575.]  Tarn  Marti  quam  Mer- 
curio. 

Printed  at  London  for  Richard  Smith,  and  are  to  be  solde  at 
the  Northweast  doore  of  Paules  Church.  4 to.  Black  letter. 
502  pp.  British  Museum.  Bodleian  (Gabriel  Harvey's  copy). 
1587.  4to.  British  Museum  (3  copies). 

The  Complete  Poems  of  George  Gascoigne.  Edited  by  W.  C. 
Hazlitt.  Two  volumes.   Roxburghe  Club.  1869. 

Gascoigne  divided  the  Posies  into  three  parts,  Flowres, 
Hearbes,  and  Weedes.  One  of  the  'Hearbes'  is  the  comedy 
Supposes,  and  the  *  Weedes'  is  chiefly  occupied  with  a  revised 
version  of,  — 

The  pleasant  fable  of  Ferdinando  Jeronimi  and  Leonora  de 
VelascOy  translated  out  of  the  riding  tales  of  Bartello  (i.e.,  Ban- 
dello.  Dictionary  of  National  Biography) . 

The  volume  concludes  with  a  critical  essay,  in  prose,  entitled, 
Certayne  notes  of  Instruction  concerning  the  making  of  verse  or 
ryme  in  English,  written  at  the  request  of  Master  Edouardo 
Donati. 

I  do  not  find  the  tale  of  Ferdinando  Jeronimi  and  Leonora 
de  Velasco  in  Bandello.  Fleay  {Chronicle  of  the  English  Drama, 
Vol.  I,  under  Gascoigne)  takes  Bartello  to  be  a  fictitious  author, 
and  says  that  the  story  relates  Gascoigne's  own  'adventures' 
with  EHnor  Manners  Bourchier,  Countess  of  Bath.  The  tale 
is  a  pasquil,  in  the  title  it  is  called  *a  fable,'  and  it  is  an  histori- 
cal fact  that  Gascoigne  was  before  the  Privy  Council,  in  1572, 
as  *'a  deviser  of  slanderous  pasquils  against  divers  persons  of 
great  calling." 


26  ELIZABETHAN  TRANSLATIONS 


15 

"Among  Mr.  Oldys's  books  was  the  Life  of  Sir  Meliado  a 
British  Knight,  translated  from  the  Itahan,  in  1572. 

"MeHadus  del  Espinoy,  and  Meliadus  le  noir  Oeil,  are  the 
thirty-seventh  and  thirty-eighth  Knights  of  the  Round  Table, 
in  E..  Robinson's  Auncient  Order,  &c.  London.  1583.  4to. 
Black  letter.  Chiefly  a  French  translation."  (Warton,  History 
of  English  Poetry,  lx.) 

Hazlitt  prints  the  note  from  Warton  under  the  name  Sir 
Meliadus  de  Leonnois. 

The  sixty-third  novella  of  Le  Cento  Novelle  Antiche  is,  Del 
huon  re  Meliadus  e  del  cavaliere  sanza  paura. 

Meliadus  de  Leonnoys:  du  ^present  volume  sont  contenus  le 
nobles  f aids  d'armes  du  vaillant  Roy  Meliadus  de  Leonnoys:  en- 
semble plusieurs  autres  nobles  proesses  de  chevalerie  f  aides  tant 
par  le  Roy  Artus,  Palamedes,  le  Morhoult  d'Irlande  le  bon  Cheva- 
lier sans  paour,  Galehault  le  Brun,  Segurades,  Galaad  que  autres 
hons  chevaliers  estans  au  temps  du  dit  Roy  Meliadus. 

Histoire  singuliere  et  Recreative  nouvellement  imprimee  a  Paris 
—  chez  Galliot  du  PrS.  1528. 

Rusticien  de  Pise,  the  original  author  of  this  romance,  tells 
us  in  his  prologue  that  he  was  ordered  to  write  it  by  King 
Henry  III,  of  England,  who  had  given  him  two  castles  as  a  re- 
ward. The  French  redadeur  professes  to  have  labored  by  order 
of  King  Edward  I,  of  England,  whose  book  of  Round  Table 
romances  he  used.  Rusticien  seems  to  have  been  a  member  of 
Prince  Edward's  suite,  at  the  time  he  went  beyond  seas  to  re- 
cover the  Holy  Sepulchre,  1270-73. 

The  first  part  of  the  romance  is  occupied  with  the  adventures 
of  Pharamond,  King  of  the  Franks,  Morhoult  of  Ireland,  and 
the  Knight  without  Fear.  Meliadus  makes  only  a  temporary 
appearance  before  the  forty-third  of  the  one  hundred  and  sev- 
enty-three chapters.  At  this  point,  Meliadus,  having  fallen  in 
love  with  the  Queen  of  Scotland  and  carried  her  off  to  Leon- 
noys, becomes  the  hero.  Pharamond  assists  Meliadus  and 


ROMANCES  IN  PROSE 


Arthur  makes  war  upon  them  both.  Finally,  Meliadus  is  taken 
prisoner  and  the  war  concludes,  in  the  one  hundred  and  sixth 
chapter,  with  the  surrender  of  his  capital  and  the  restoration  of 
the  Scottish  Queen  to  her  husband.  Meliadus  amuses  himself 
in  prison  by  composing  songs  to  the  harp,  particularly  a  lay, 
called  Dueil  sur  DueiU  which  the  romance  states  was  the  second 
ever  written.  Arthur  eventually  sets  him  free  in  order  to  avail 
himself  of  his  help. 

Rusticien's  Meliadus,  Chevalier  de  la  Croix,  was  translated 
into  Italian,  and  pubHshed  at  Venice,  in  155^60,  in  two  vol- 
umes. 8vo. 

16 

1573.  The  Garden  of  Pleasure:  Contayninge  most  pleasante 
Tales,  worthy  deeds  and  witty  sayings  of  noble  Princes  &  learned 
Philosophers,  moralized.  No  lesse  delectable,  than  profitable. 
Done  out  of  Italian  into  English,  by  lames  Sanforde,  Gent. 
Wherein  are  also  set  forth  diuers  Verses  and  Sentences  in  Italian, 
with  the  Englishe  to  the  same,  for  the  benefit  of  students  in  both 
tongs. 

Imprinted  at  London,  by  Henry  Bynneman.  Anno  1573. 
8vo.  116  leaves.  Black  letter.  Capell  Collection  (imperfect). 
British  Museum. 

Dedicated  to  "Lord  Robert  Dudley,  Earle  of  Leycester." 

Houres  of  Recreation  or  After  dinners,  which  may  aptly  be 
called  the  Garden  of  Pleasure:  Containing  most  pleasant  Tales, 
worthy  deeds  &  witty  sayings  of  noble  Princes  &  learned  Philoso- 
phers, with  their  Morals,  &c.  Done  first  out  of  Italian  into  Eng- 
lishe, by  J.  S.  Gent.,  and  now  by  him  newly  perused,  corrected, 
and  enlarged. 

Imprinted  at  London  by  Henry  Bynneman,  &c.  1576. 
16mo.    128  leaves.    Black  letter.    British  Museum. 

At  the  end  of  Houres  of  Recreation  are  "Certayne  Poems 
dedicated  to  the  Queenes  moste  excellent  Maiestie,  by  James 
Sanforde  Gent." 

In  the  dedication  of  Houres  of  Recreation,  to  Sir  Christopher 


28  ELIZABETHAN  TRANSLATIONS 


Hatton,  Sandford  repeats  some  prognostications  of  disaster  for 
1588. 

17 

1574.  A  right  exelent  and  pleasaunt  Dialogue  hetweene  Mer- 
curie  and  an  English  Souldier,  contayning  his  Supplication  to 
Mars:  beautified  with  sundry  Worthy  Histories,  rare  Inventions 
and  politike  Devises.    [By  Barnabe  Rich.] 

London.    1574.    8vo.    Black  letter. 

Dedicated  to  Ambrose  Dudley,  Earl  of  Warwick,  Master  of 
the  Ordinance. 

The  second  part  supplies,  quite  inappropriately,  a  fanciful 
account  of  the  Court  of  Venus,  and  rehearses  the  story  of  the 
lady  of  Chabry,  which  Rich  says  he  derived  from  Bandello 
(Infortunato  et  infausto  Amore  di  Madama  di  Cahrio  Prouenzale 
con  un  suo  procuratore,  e  morte  di  molti.  ii,  33).  Geoffrey 
Fenton  had  already  translated  the  tale,  in  Certaine  Tragicall 
Discourses.    1567.    No.  9.    The  Lady  of  Chabrye. 

18 

1575.  The  Pretie  and  wittie  Historie  of  Arnalt  &  Lucenda: 
With  certen  Rules  and  Dialogues  set  foorth  for  the  learner  of  tK 
Italian  tong:  And  Dedicated  unto  the  Worshipfull,  Sir  Hierom 
Bowes  Knight.  By  Claudius  Hollyband  Scholemaster,  teaching 
in  Poules  Churchyarde  at  the  Signe  of  the  Lucrece.  Dum  spiro, 
spero. 

Imprinted  at  London  by  Thomas  Purfoote.  1575.  12mo. 
pp.  366.  Black  letter.  British  Museum.  Also,  appended  to 
The  Italian  Schoole-maister,  1597,  8vo,  and  1608,  8vo;  I  find 
also,  in  Register  C,  a  license  to  the  two  Purfootes,  dated  Aug. 
19,  1598. 

In  verse,  A  Small  Treatise  betwixt  Arnalte  and  Lucenda,  by 
Leonard  Lawrence.    1639.  4to. 

Translated  from  Bartolommeo  MaraflB's  Italian  version  of 
the  Greek  original,  and  including  this  ItaHan  version.  The 
British  Museum  copy  has  the  autograph  of  Horace  Walpole, 
Earl  of  Orford,  on  the  flyleaf. 


ROMANCES  IN  PROSE 


29 


The  Argument  of  this  present  Work 
A  noble  Grecian,  who  riding  to  doe  his  business  being  oute  of 
his  way,  came  to  a  soHtarie  place,  where  a  most  valiant  Knight 
of  Thebes,  named  Arnalt,  having  buylded  a  darke  and  sadde 
palace,  with  many  his  servantes,  as  an  Heremite  did  dwell  in 
continuall  sighes,  lamentations,  and  mourning.  Of  whom  he 
being  courteously  receaved  and  feasted,  was  fully  informed  of 
all  his  wof ull  and  pitiful  mishappe :  and  instantly  prayed,  that 
for  the  honor  of  gracious,  mercifull,  and  honest  women,  and  the 
profite  of  unwearie  and  too  bolde  youth,  he  should  write  it,  and 
make  it  come  foorth  into  the  cleare  lighte  and  Knowledge  of  the 
worlde.  The  which  spedelie  without  delay  was  by  him  done  in 
the  Greeke  tong,  without  his  proper  name  unto  it.  It  was  after 
translated  into  the  Spanish  tong:  and  by  the  excellent  Master 
Nicholas  Herberai  a  Frenchman  was  turned  into  the  French 
tongue :  and  as  a  thing  worthy  to  be  read  in  every  tongue,  was 
by  Bartholomew  Marraffi  Florentine,  translated  into  the  Thus- 
can  tong:  and  no  we  out  of  the  same  tongue  by  Claudius  Holly- 
bande  translated  into  Englishe.  Harken  therefore  diligently  to 
this  author,  whiche  doubtlesse  shall  make  your  harts  to  mollifie 
and  weepe. 

19 

[1576.]  A  Petite  Pallace  of  Pettie  his  pleasure:  Contayning  many 
pretie  Hy stories  by  him  set  foorth  in  comely  colours,  and  most  de- 
lightfully discoursed.  [Edited  by  R.  B.]  Omne  tulit  punctum  qui 
miscuit  utile  dulci. 

[Colophon.]  Printed  at  London  by  R.[ichard]  W.[atkins.] 
n.  d.  [1576].  4to.  Black  letter.  88  leaves.  British  Museum. 
Bodleian.  Also,  n.  d.  [1576].  4to.  Black  letter.  88  leaves; 
another  edition,  n.  d.  by  R.[ichard]  W.[atkins]  [1586.?].  4to. 
Black  letter.  116  leaves.  British  Museum.  R.  S.  Turner,  Esq.; 
R.[ichard]  W.[atkins]  [1590.?].  4to.  Black  letter.  British 
Museum;  by  James  Roberts,  1598.  4to.  Black  letter;  by 
George  Eld,  1608.  4to.  Black  letter.  95  leaves.  Bodleian.  Brit- 
ish Museum;  by  George  Eld,  1613.  4to.  95  leaves.  Bodleian, 


30  ELIZABETHAN  TRANSLATIONS 


W.  C.  Hazlitt,  in  his  edition  of  Warton's  History  of  English 
Poetry y  1871,  says  that  three  editions  came  out  in  or  about 
1576;  while  the  Dictionary  of  National  Biography  mentions  an 
earHer  edition,  1580,  by  James  Roberts. 

Anthony  a  Wood  says  that  Pettie  "was  as  much  commended 
for  his  neat  stile  as  any  of  his  time,"  but  of  the  Petite  Palace  he 
observes  severely  "and  for  the  respect  I  bear  to  the  name  of  the 
author  (he  having  been  uncle  to  my  mother  Maria  la  Petite)  I 
will  keep  it;  but 't  is  so  far  now  from  being  excellent  or  fine,  that 
it  is  more  fit  to  be  read  by  a  schoolboy,  or  rustical  amoratto, 
than  by  a  gent,  of  mode  or  language."  (Athenae  Oxonienses.) 

Pettie's  twelve  "pretie  Histories"  are  all  classical,  and  have 
the  following  titles,  — 

1.  Sinorix  and  Gamma. 

2.  Tereus  and  Progne. 

3.  Germanicus  and  Agrippina. 

4.  Amphiaraus  and  Eriphile. 

5.  Icilius  and  Virginia. 

6.  Admetus  and  Alcest. 

7.  Scilla  and  Minos. 

8.  Guriatius  and  Horatia. 

9.  Gephalus  and  Procris  (both  of  the  Duke  of  Venice's 
court). 

10.  Minos  and  Pasiphae. 

11.  Pigmalions  freinde  and  his  Image. 

12.  Alexius. 

Joseph  Jacobs,  Introduction  to  Painter's  The  Palace  of  Pleas- 
ure, enumerates  ten  tales  only,  omitting  the  4th  and  10th. 

Synorix  and  Gamma  is  a  story  from  Plutarch's  treatise  De 
Glaris  Mulieribus.  Tennyson  dramatized  it  in  his  two-act 
tragedy  The  Gup  (1884),  his  son  explaining  how  the  poet's  atten- 
tion was  attracted  to  the  subject  by  a  paragraph  in  W.  E.  H. 
Lecky's  History  of  European  Morals  (Vol.  ii,  Chap,  v,  pp. 
341-42). 

Synorix,  chief  Governor  of  Siena,  "solicited  the  hand  of  a 
Galatian  lady  named  Gamma,  who,  faithful  to  her  husband. 


ROMANCES  IN  PROSE 


SI 


resisted  all  his  entreaties.  Resolved  at  any  hazard  to  succeed, 
he  caused  her  husband  to  be  assassinated,  and  when  she  took 
refuge  in  the  temple  of  Diana,  and  enrolled  herself  among  the 
priestesses,  he  sent  noble  after  noble  to  induce  her  to  relent. 
After  a  time  he  ventured  himself  into  her  presence.  She  feigned 
a  willingness  to  yield,  but  told  him  it  was  first  necessary  to 
make  a  libation  to  the  goddess.  She  appeared  as  a  priestess  be- 
fore the  altar  bearing  in  her  hand  a  cup  of  wine,  which  she  had 
poisoned.  She  drank  half  of  it  herself,  handed  the  remainder  to 
her  guilty  lover,  and  when  he  had  drained  the  cup  to  the  dregs, 
burst  into  a  fierce  thanksgiving  that  she  had  been  permitted 
to  avenge,  and  was  so  soon  to  rejoin,  her  murdered  husband." 

Tennyson's  The  Cup  was  produced  at  the  Lyceum  Theatre, 
London,  Jan.  3,  1881,  and  ran  for  over  one  hundred  and  thirty 
nights.  Ellen  Terry,  who  called  it  a  great  httle  play,"  acted 
finely  the  noble  part  of  Camma,  while  Henry  Irving  set  the 
drama  magnificently  and  played  Synorix. 

'  Irving,'  my  father  said,  'has  not  hit  off  my  Synorix,  who 
is  a  subtle  blend  of  Roman  refinement  and  intellectuality, 
and  barbarian,  self-satisfied  sensuality.* "  And  again,  later, 

^  Irving  did  not  represent  the  character  of  Synorix  rightly. 
Irving  made  him  a  villain,  not  an  epicurean.  Fanny  Kemble's 
criticism  was  that  he  could  not  play  an  epicurean  and  so  he 
played  a  villain.*  "  {Alfred,  Lord  Tennyson.  A  Memoir.  Vol.  ii, 
pp.  256-58,  385.) 

Imogen,  Cymbeline,  ii,  2,  went  to  sleep  reading  "the  tale 
of  Tereus  [and  Progne]." 

For  an  account  of  Pettie's  A  Petite  Pallace,  see  British 
Bibliographer,  Vol.  ii,  p.  392. 

20 

1576.  The  Roche  of  Regard:  diuided  intofoure  parts.  The  first, 
the  Castle  of  Delight:  wherein  is  reported,  the  wretched  end  of  wan- 
ton and  dissolute  living.  The  second,  the  Garden  of  Unthriftinesse; 
wherein  are  many  sweete  flowers  {or  rather  fancies)  of  honest  love. 
The  thirde,  the  Arbour  of  Vertue;  wherein  slaunder  is  highly  pun- 


32  ELIZABETHAN  TRANSLATIONS 


ished  and  virtuous  ladies  and  gentlewomen  worthily  commended. 
The  fourth,  the  Ortchard  of  Repentance;  wherein  are  discoursed  the 
miseries  that  follow  dicing ,  the  mischief es  of  quareling,  the  fall  of 
prodigalitie,  and  the  souden  ouerthrowe  of  four  e  notable  cousnersy 
with  divers  other  morally  natural,  and  tragical  discourses;  docu- 
ments and  admonitions:  being  all  the  inuention,  collection  and 
translation  of  George  Whetstons  Gent.  Formae  nulla  fides. 

[Colophon.]  Imprinted  at  London  for  Robert  Waley.  Anno 
1576.  4to.  Black  letter.  132  leaves.  Bodleian.  Capell  Col- 
lection. N.  191.  British  Museum  (imperfect).  Reprinted  by 
J.  P.  Collier.  1870. 

The  Rocke  of  Regard,  Whetstone's  first  publication,  consists 
of  sixty-eight  pieces,  in  prose  and  verse,  mostly  verse.  Many 
of  them  are  drawn  from  the  Italian,  while  others  are  occasional 
poems  addressed  to  friends.  Number  20,  of  the  Ortchard  of 
Repentance,  the  Inventions  of  P.  Plasmos,  tells  the  story  of 
Whetstone's  "hap  and  hard  fortune"  at  the  hands  of  his  ene- 
mies. 

Part  I.  The  Castle  of  Delight,  contains  four  pieces. 

1.  The  disordered  life  of  Bianca  Maria,  Countesse  of  Celaunt, 
in  forme  of  her  Complainte,  supposed  at  the  hour  of  her 
beheading,  for  procuring  the  murder  of  Ardissimo  Val- 
perga,  earl  of  Massino.  Ten  pages,  in  seven-line  stanzas. 
This  novel  from  Bandello,  i,  4,  had  already  been  trans- 
lated by  Painter,  1567,  The  Palace  of  Pleasure,  ii,  24,  and 
by  Fen  ton,  1567,  Certaine  Tragicall  Discourses.  Whetstone 
relates  the  story  again,  in  prose,  in  his  Heptameron,  1582. 
Marston's  The  Insatiate  Countess  {Barksted^s  Tragedy), 
1613,  4to,  is  founded  on  it. 

2.  An  Invective  written  by  Roberto  San  Severino,  earle  of 
Giazzo,  against  Bianca  Maria,  Countesse  of  Celant.  Six 
pages. 

3.  Cressid's  Complaint.    Five  pages. 

4.  The  Discourse  of  Rinaldo  and  Giletta.  This  is  a  love-tale, 
forty  pages  long,  composed  in  prose  and  verse  much  on 
the  plan  of  Gascoigne's  Fable  of  Ferdinando  Jeronimi. 


ROMANCES  IN  PROSE 


33 


Part  II.  The  Garden  of  Unthriftinesse,  wherein  is  reported  the 
dolorous  Discourse  of  Dom  Diego^  a  Spaniard,  together  with  his 
Triumphe.  Wherein  are  divers  other  flowers  (or  fancies)  of  honest 
love.  Being  the  inventions  and  collection  of  George  Whetstone, 
Gent.  Formae  nulla  fides. 

The  "dolorous  discourse  of  Dom  Diego is  Fenton's  thir- 
teenth tale,  Painter,  ii,  29,  from  Bandello,  i,  27;  it  occupies 
seven  pages,  and  is  followed  by  thirty-two  ''fancies,"  or  ama- 
tory poems. 

Part  III.  The  Arbour  of  Vertue.  A  Worke  conteining  the 
chaste  and  honourable  life  of  a  Bohemian  Ladie:  to  the  which  is 
adjoyned,  the  complaint  of  two  Hungarian  Barons,  that  wagerd 
the  spoile  of  her  Chastitie.  Wherein  are  the  severall  prayses  of 
certaine  English  Ladies  and  Gentlewomen;  being  the  translation, 
collection,  and  invention  of  George  Whetstons,  Gent.  Formae  nulla 
fides.  128  pp. 

Dedicated  "  to  the  right  honourable  and  vertuous  Lady,  Jana 
Sibilla  Greye,  now  of  Wilton,"  second  wife  of  Lord  Grey  de 
Wilton. 

1.  The  Discourse  of  Lady  Barbara's  vertuous  behaviours. 
Thirteen  pages  of  Alexandrine  verse. 

2.  The  Complaint  of  the  Lorde  Alberto  and  Udissas  [Uladis- 
lao],  the  two  Hungarian  barons  that  unadvisedly  wagered 
their  land,  to  winne  the  ladie  Barbara  to  wantonnesse :  who 
having  the  foyle  {besides  the  losse  of  their  livings)  for  their 
slaunderous  opinions,  were  condemned  to  perpetuall  exile. 
In  thirteen  seven-line  stanzas. 

This  tale  is  The  Lady  of  Boeme,  Painter,  ii,  28,  from  Ban- 
dello, I,  21.  It  is  the  subject  of  Massinger's  tragi-comedy.  The 
Picture,  acted  in  1629,  printed  1630.  4to. 

Numbers  three  to  ten  are  the  "severall  prayses." 

The  Ortchard  of  Repentance.  Wherein  is  reported,  the  miseries 
of  dice,  the  mischief es  of  quarreling,  and  the  fall  of  prodigalitie; 
wherein  is  discovered,  the  deceits  of  all  sorts  of  people;  wherein  is 
reported,  the  souden  endes  of  foure  notable  cousiners.  With  divers 
other  discourses i  necessarie  for  all  sortes  of  men.  The  whole  worke 


34  ELIZABETHAN  TRANSLATIONS 


the  invention  and  collection  of  George  Whetstons,  Gent.  Formae 
nulla  fides.  121  pp. 

This  concluding  part  is  inscribed  to  the  "  Right  Worshipfull 
Sir  Thomas  Cicill,  Knt." 

The  Ortchard  of  Repentance  consists  of  twenty  pieces  in  prose 
and  verse,  including  five  epitaphs. 

21 

1577.  Foure  Straunge,  lamentable,  and  Tragicall  Hystories. 
Translated  out  of  French  into  Englishe  by  R.  S.    Anno  1577. 

Imprinted  at  London,  in  Fleete-streate,  beneath  the  Con- 
duite,  at  the  Signe  of  S.  John  Euangehst,  by  Hugh  Jackson. 
4to.   Black  letter.    59  leaves.  Bodleian. 

Dedicated  "To  the  right  Worshipfull,  Mayster  Henry  Ver- 
non of  Stoke,  in  the  Countye  of  Salop,  &  Mayster  lohn  Vernon 
of  Sudbury,  in  the  Countye  of  Darby,  Esquyer,"  by  T.[homas] 
N.[ewton],  who  dates  his  inscription  "At  Butley,  this  xxx.  of 
October,  1577."  The  dedication  is  followed  by  Newton's  Ad- 
dress to  the  Reader:  "T.  N.  to  the  curteous,  friendlye,  and  in- 
different Reader.'* 

No.  1  is  Bandello,  iii,  25.  Gian  Maria  Vesconte,  secondo  duca 
di  Milano,  fa  interrare  un  parrocchiano  vivo,  che  non  voleva  sep- 
pelire  un  suo  popolano,  se  non  era  de  la  moglie  di  quello  pagato. 

No.  3  is  Bandello,  i,  52.  Bellissima  vendetta  che  fece  un 
Schiavo  de  la  morte  del  suo  Soldono  contra  un  malvaggio  figliuolo 
di  quello. 

No.  4  is  Bandello,  i,  44.  //  Marquese  Niccolo  Terzo  da  Esie, 
trovato  il  figliuolo  con  la  matrigna  in  adulterio,  a  tutti  dui  in  un 
medesimo  giorno  fa  tagliar  il  capo  in  Ferrara. 

22 

1578.  A  Courtlie  Controuersie  of  Cupid's  Cautels:  Contayn- 
ing  fiue  Tragicall  Histories,  very  pithie,  pleasant,  pitifull,  and 
profitable:  discoursed  uppon  wyth  Argumentes  of  Loue,  by  three 
Gentlemen  and  two  Gentlewomen,  entermedled  with  divers  delicate 
Sonets  and  Rithmes,  exceeding  delightfull  to  refresh  the  yrkesom- 


ROMANCES  IN  PROSE 


35 


nesse  of  tedious  Tyme.  Translated  out  of  French,  as  neare  as  our 
English  Phrase  will  permit y  by  H.[enry]  W.[otton]  Gentleman. 

At  London.  Imprinted  by  Francis  Coldocke  and  Henry 
Bynneman.  1578.  4to.  Black  letter.  176  leaves.  British 
Museum  (imperfect  copy).  Bodleian. 

Dedicated  to  the  translator's  sister-in-law,  Mary  (or  Anne.'^) 
Neville,  daughter  of  George  Neville,  Lord  Abergavenny,  widow 
of  Thomas  Fiennes,  Lord  Dacre  of  the  South,  and  2d  wife  to 
one  Wooton,  of  Tudenham,  Norfolk,  son  of  John  Wooton,  of 
North  Tudenham. 

A  Courtlie  Controversie  is  a  translation  of  Le  Printemps  d'  Yver, 
contenant  cinq  histoires  discourues  par  cinq  journees  en  une  noble 
compagnie  au  chateau  du  Printemps.  By  Jacques  d'Yver. 

Paris.    1572.  16mo. 

•A  widow,  with  her  daughter,  Marie,  and  her  niece.  Margue- 
rite, receives  at  her  chateau  in  Poitou,  the  Castell  de  Printemps, 
built  by  the  fairy,  Melusina,  three  noble  gentlemen,  Sire  Bel- 
Accueil,  Sire  Fleur  d'Amour  and  Sire  de  Ferme-Foi.  She  enter- 
tains them  with  five  tales,  related  on  five  days,  one  history  a 
day.  The  tales  are  original,  but  show  Italian  influences,  in 
form,  style,  and  thought.  The  first  day's  history  is  that  of 
Soliman  and  Perseda,  and  of  "the  play  within  the  play,"  in  The 
Spanish  Tragedy. 

Ernst  Sieper,  Die  Geschichte  von  Soliman  und  Perseda  in  der 
neueren  Literatur.    1.  Die  franzdsischen  Bearbeitungen  (i-iv); 

2.  Die  deutschen  Bearbeitungen  (v).  Zeitschrift  fiir  vergleichende 
Literatur  geschichte.     Neue  Folge.    Bd.  rx,  1896,  pp.  33-60. 

3.  Die  englischen  Bearbeitung  (vi).  Characteristik  von  Wotton's 
Ubersetzung  des  *  Printemps*  (vii).  Das  Drama  Soliman  und 
Perseda  und  Kyds  Zwischenspiel  (Spanish  Tragedy).  Zeitschrift 
fur  vergleichende  Literaturgeschichte.  Neue  Folge.  Bd.  x,  1896, 
pp.  151-174. 

The  third  day's  history,  by  Sire  Bel-Accueil,  tells  the  story 
of  Clarinda,  daughter  of  Francesco  Gonzaga,  of  Mantua,  and 
her  two  suitors,  Adilon,  Prince  of  Umbria,  and  Alegre,  a  French 
knight.    On  the  fourth  day,  the  Lady  Marguerite  relates  a 


36  ELIZABETHAN  TRANSLATIONS 


story  about  William  the  Conqueror.  It  seems  that  after  the 
Conquest,  William  fell  in  love  with  a  Danish  princess,  Amira, 
whose  image  he  saw  on  a  knight's  shield  at  a  tourney.  The  ro- 
mance runs  on  through  love  potions,  sonnet  writing,  and  mis- 
chance, to  the  tragical  death  of  both  lovers,  king  and  princess. 
One  of  William's  sonnets  is  a  clever  and  pretty  echo  song,  one 
of  the  earliest  songs  in  EngHsh  in  this  form.  The  fifth  day's  his- 
tory, a  disagreeable  story,  of  two  students  of  the  university  of 
Padua,  suggests  both  the  Decameron,  viii,  8,  and  Bandello,  i, 
17. 

23 

1578.  Tarletons  Tragical  Treatises,  contaynyng  sundrie  dis- 
courses and  prety  Conceytes,  both  in  Prose  and  Verse. 

Imprinted  at  London  by  Henry  Bynneman.  An.  1578.  4to. 
Black  letter. 

"To  the  right  honourable  and  vertous  Lady,  the  Lady 
Fraunces  Mildmay,  Richard  Tarleton  wisheth  long  life,  and 
prosperous  health,  with  happy  encrease  of  Honor,"  signed, 
"  Your  honors  most  humble  at  commandment,  Richard  Tarle- 
ton, Seruaunt  to  the  right  Honourable  the  Lorde  Chamberlaene 
Earle  of  Sussex." 

The  only  known  copy  of  this  work  was  found  at  Lamport 
Hall,  by  Mr.  C.  Edmonds,  who  says:  —  "In  the  Dedication 
the  author  expresses  his  fear  of  getting  *the  name  and  note  of 
a  Thrasonicall  Clawback,'  which  curious  expression  [thrason- 
ical] is  used  by  Shakespeare  in  Love's  Labour* s  Lost "  [v,  1, 
printed  1598].  The  next  year,  in  As  You  Like  It,  v,  2,  acted 
1599,  Shakspere  wrote,  —  "  Caesar's  *  thrasonical '  brag  of  *  I 
came,  saw,  and  overcame.'  "  Before  Shakspere,  the  only  use  of 
the  word  *  thrasonical '  is  by  Coverdale,  in  1564.  *  Clawback ' 
is  good  Elizabethan  for  one  who  pats  on  the  back. 

24: 

1579.  The  Forrest  of  Fancy.  Wherein  is  conteined  very  prety 
Apothegmes  and  pleasant  histories,  both  in  meeter  and  prose, 


ROMANCES  IN  PROSE 


37 


Songes,  Sonets,  Epigrams,  and  Epistles,  of  diuerse  matter  and 
in  diuerse  manner.  With  sundry  other  diuises,  no  lesse  pithye 
then  pleasaunt  and  pr of y table. 

Reade  with  regard,  peruse  each  paint  well. 

And  then  give  thy  judgement  as  reason  shall  move  thee; 

For  eare  thou  conceive  it,  twere  hard  for  to  tell. 
If  cause  be  or  no,  wherefore  to  reprove  me. 

Imprinted  at  London  by  Thomas  Purfoote,  dwelling  in  New- 
gate Market,  within  the  New  Rents,  at  the  signe  of  the  Lucrece. 
1579.  4to.  58  leaves.  A  second  edition,  considerably  aug- 
mented, came  out  in  the  same  year,  1579.  4to.  Black  letter. 
80  leaves.    British  Museum. 

The  words  *'L'acquis  Abonde,  Finis,  H.  C,"  occur  on  the 
verso  of  the  last  leaf.  H.  C.  has  been  conjectured  to  be  Henry 
Chettle,  by  Ritson,  Henry  Cheke,  by  Malone,  and  Henry 
Constable,  by  War  ton. 

Of  the  "pleasant  histories,"  which  are  in  prose,  I  note  two 
from  Boccaccio;  —  No.  1  is  Decameron,  iii,  5,  Seigneor  Fran- 
cisco Vergelis,  for  a  fayr  ambling  gelding,  suffered  one  Seigneor 
Richardo  Magnifflco  to  talk  with  his  wife,  who  gave  him  no  aun- 
swere  at  all,  but  he  aunswering  for  her  in  such  sort  as  if  she  herself 
had  spoken  it,  according  to  the  effect  of  his  wordes  it  came  after- 
wards to  passe.    (7  pages.) 

Ben  Jonson  makes  use  of  this  bargain  in  Act  i,  scene  3,  of 
The  Devil  is  an  Ass,  acted  1616,  pubHshed  1631.  In  Jonson's 
comedy,  Wittipol  gives  Fitzdottrel  a  cloak  for  leave  to  pay  his 
addresses  to  Mrs.  Fitzdottrel  for  a  quarter  of  an  hour. 

Theodore  enamoured  of  Maister  Emeries  daughter,  Decameron, 
V,  7,  is  the  source  of  Beaumont  and  Fletcher's  Triumph  of 
Love,  the  second  and  best  of  their  Four  Plays  in  One.  1608. 
See  Thomas  Achelley's  A  Most  Lamentable  and  Tragicall  His- 
toric, 1576. 

Another  prose  romance,  No.  3,  is  taken  from  Straparola,  Le 
tredici  Piacevoli  Notti,  i,  1.  One  named  Salard,  departing  from 
Genes,  came  to  Montferat,  where  he  transgressed  three  commaunde- 
mentes  that  his  father  gave  him  by  his  last  will  and  testamente,  and 


38  ELIZABETHAN  TRANSLATIONS 


being  condemned  to  dye,  was  delivered,  and  retourned  againe  into 
his  owne  countrey.    (13  pages.) 

The  romance  of  Salardo  is  the  sixty-ninth  and  last  piece  in 
the  book.  Number  34  is  a  charming  poem  of  thirty-two  stanzas, 
entitled, 

A  commendacion  of  the  robin  redde  brest. 

It  was  so  sweete  a  melody, 

that  sure  I  thought  some  Muse, 
Or  else  some  other  heavenly  wight 

did  there  frequent  and  use. 
But  as  I  cast  mine  eye  asyde 

on  braunche  of  willow  tree, 
A  little  robin  redbreast  then 

there  sitting  did  I  see. 

And  he  it  was,  and  none  but  he 

that  did  so  sweetely  sing; 
But  sure  in  all  my  life  before 

I  never  harde  the  thing, 
That  did  so  much  delight  my  hart, 

or  causde  me  so  to  joye, 
As  did  that  little  robin's  song 

that  there  I  heard  that  day. 

The  Forrest  of  Fancy  also  mentions,  —  from  Boccaccio, 
II  conte  d' Anguersa,  Decameron,  ii,  8. 

Nastagio  and  Tr  aver  sari,  Decameron,  v,  8.  See  A  Notable 
History e  of  Nastagio  and  Trauersari,  1569,  and  Tragical  Tales 
Translated  by  Turbervile,  1576. 

From  Bandello, 

Aleran  and  Adelasia,  ii,  917. 

The  Duchess  of  Malfy,  i,  26,  naming  the  majordomo  Ulrico, 
instead  of  Antonio  Bologna,  as  in  Bandello,  Belleforest,  and 
Painter. 

From  Giraldi  Cintio, 

Eufimia  and  Acaristo,  viii,  10.  This  allusion  occurs  in  one  of 
the  prose  letters  of  the  collection,  of  which  there  are  not  a  few, 
mostly  love-letters.  (Brydges,  Restituta,  Vol.  iii,  pp.  456-76.) 


ROMANCES  IN  PROSE 


39 


25 

1580.  A  Posie  of  Gilloflowersy  eche  differing  from  other  in  col- 
our and  odour,  yet  all  sweete.  By  Humfrey  Gifford,  Gent. 

Imprinted  at  London  for  lohn  Perin,  and  are  to  be  solde  at 
his  shop  in  Paules  Churchyard,  at  the  signe  of  the  Angell. 
1580.  4to.  Black  letter.  82  leaves.  British  Museum  (King's 
books).  1875.  4to.  Edited  by  A.  B.  Grosart.  Occasional  Is- 
sues, Vol.  I. 

The  book  is  divided  into  two  parts,  with  separate  dedica- 
tions; the  first  consists  of  prose  translations  from  the  Italian 
and  French,  dedicated,  "To  the  Worshipfull  his  very  good 
Maister  Edward  Cope  of  Edon,  Esquier;"  and  the  second, 
with  a  few  exceptions,  of  original  poems,  dedicated  *'To  the 
Worshipfull  John  Stafford  of  Bletherwicke,  Esquier." 

The  first  prose  piece  is,  '^An  Epistle  written  in  Italian,  by 
Maister  Claudius  Ptholomoeus,  for  the  comforting  of  his  very 
louing  and  learned  friend,  Maister  Dionysius,  beeing  fallen  into 
poverty,  and  englished  by  H.  G." 

The  second  *  posie'  is  '^An  answere  of  Maister  Clodious  Ptho- 
lomoeus, to  a  Letter  sente  him  by  afriende,  that  meruelled  wherefore 
hee  hauing  such  learning,  remayned  in  so  meane  and  base  an  estate 
of  calling.'* 

Claudio  Tolommei  was  a  Sienese  poet  whose  letters  were 
held  in  high  repute;  some  of  them  were  published,  in  1544,  in  a 
book  entitled,  De  le  Lettre  di  Tredici  Huomini  Illustri  Libri  Tre- 
dici,  and  edited  by  Dionigi Atanagi,Tolommei's  friend.  Dionigi 
Atanagi  is  the  "Maister  Dionysius"  to  whom  the  letter  on 
poverty,  written  in  September,  1542,  is  addressed.  An  enlarged 
edition  of  the  Thirteen  Italian  Letter-writers  was  translated  into 
French,  in  1572,  by  Pierre  Vidal  of  Toulouse.  In  his  dialogue, 
II  Cesano  (1554),  Claudio  Tolommei  introduces  Baldessare 
Castiglione  as  the  acknowledged  protagonist  for  the  lingua 
cortegiana. 

The  fourth '  posie,'  "Translated  out  of  Italian,"  is  a  story 
upon  this  theme,  —  Two  sworne  Brothers,  being  souldiers,  married 


40  ELIZABETHAN  TRANSLATIONS 


twoo  sisters:  the  one  of  them  made  much  of  his  wife,  entreating  her 
with  all  lenitie  that  might  he,  yet  would  she  not  obey  his  will  and 
pleasure:  The  other  threatned  his  wife,  and  kept  her  in  obedience, 
and  she  alwayes  did,  what  he  commanded  her.  The  one  requesteth 
the  other  to  teach  him  how  to  make  her  obediente,  which  he  did, 
where  upon  hee  threatning  and  using  her  as  the  other  did,  shee 
laught  him  to  scorne. 

The  scene  is  laid  in  a  garrison  near  Rome. 

*Posie'  five,  Maister  Gasparinus  a  Phisition,  by  his  cunning, 
healeth  fooles. 

This  is  the  well-known  *  merry  tale,'  Of  hym  that  healed  f ran- 
ticke  men.  Compare,  Mery  Tales,  Wittie  Questions,  and  Quicke 
Answer es,  52,  where  it  is  referred  to  Poggio,  Facetiae,  ii,  and  to 
Morlino,  Novella  lxxvii. 

*Posie'  six  is  another  Italian  story,  —  The  Florentines  and  the 
Citizens  of  Bergamaske,  bring  all  their  Doctors  to  a  disputation, 
and  they  of  the  citie  of  Bergamaske,  with  a  prety  pollicie  confuted, 
and  had  the  victorie  of  the  Florentines. 

*Posie '  seven.  Of  one  that  hyred  a  foolish  seruaunt  and  was 
serued  accordingly. 

The  long-suffering  master  was  a  certain  "  Pandolf us  a  Gentle- 
man of  Padua." 

*  Posie '  eight,  a  second  story  of  a  foolish  servant,  is  located 
"in  the  Citie  of  Ferrara." 

At  the  end  of  the  poetical  pieces  there  are  eighteen  rimed  rid- 
dles, of  which  the  eighteenth,  with  its  solution,  is  as  follows,  — 

Of  thee  (O  my  friend)  a  thing  I  doe  craue. 
Which  thou  neuer  hadst,  nor  neuer  shalt  haue. 
If  that  for  thy  selfe  thou  purpose  to  gayne  it. 
Thy  labour  is  lost,  thou  mayst  not  obtayne  it. 
Although  thou  shouldst  Hue  a  whole  thousand  yeere. 
And  seeke  it,  yet  should'st  thou  be  nothing  the  neere. 
Now  if  thou  doe  loue  me,  euen  so  as  thou  sayest, 
Doe  geue  it.    For  truely,  I  know  that  thou  mayst. 

Solution.  A  mayde  being  in  loue  with  a  young  man,  desires 
him  to  geue  her  a  husbande,  which  in  marrying  with  her  hee 
might  doo." 


ROMANCES  IN  PROSE 


41 


The  plot  of  Randolph's  pastoral,  AmyntaSy  or  The  Impossible 
Dowry,  turns  on  this  riddle. 

That  which  thou  hast  not,  may'st  not,  can'st  not  haue, 
Amyntas,  is  the  dowry  that  I  craue, 

which  in  the  denouement  turns  out  to  be  a  husband. 

26 

"Bishop  Tanner,  I  think,  in  his  correspondence  with  the 
learned  and  accurate  Thomas  Baker  of  Cambridge,  mentions 
a  prose  English  version  of  the  Novelle  of  Bandello,  ...  in  1580, 
by  W.  W.  Had  I  seen  this  performance,  for  which  I  have 
searched  Tanner's  library  in  vain,  I  would  have  informed  the 
inquisitive  reader  how  far  it  accommodated  Shakespeare  in  the 
conduct  of  the  Tragedy  of  Romeo  and  Juliet.  As  to  the  trans- 
lator, I  make  no  doubt  that  the  initials  W.  W.  imply  William 
Warner  the  author  of  Albion's  England,  who  was  esteemed  by 
his  CO  temporaries  as  one  of  the  refiners  of  our  language,  and  is 
said  in  Meres's  Wit's  Treasury,  to  be  one  of  those  by  whom  *  the 
English  tongue  is  mightily  enriched,  and  gorgeously  invested  in 
rare  ornaments  and  resplendent  habiliments."*  (Warton,  His- 
tory of  English  Poetry,  lx.) 

It  may  be  that  Warton  here  mentions  the  first  literary  ven- 
ture of  William  Warner,  but  no  such  work  is  now  known. 
Warton  adds  a  footnote  that  W.  W.  may  mean  William  Webbe, 
author  of  A  Discourse  of  English  Poetrie.  1586. 

Besides  Arthur  Broke's  Romeus  and  Juliet,  I  have  found  no 
translations  from  Bandello,  except  Thomas  Achelley's  metrical 
romance,  Violenta  and  Didaco,  and  such  separate  novels  as  occur 
in  Painter  and  other  translators. 

I  add  twenty-seven  Elizabethan  plays  upon  subjects  taken 
from  Bandello's  Novelle.  Of  these,  however,  it  will  be  noticed, 
that  nineteen  are  already  grouped  under  Painter's  Palace  of 
Pleasure,  and  that  the  other  eight  all  date  from  the  year  1600 
on.  There  would  seem  to  be  little  doubt  but  that  the  dramatists 
came  to  know  Bandello  through  Painter's  collection. 


42  ELIZABETHAN  TRANSLATIONS 


I,  23.   (1)  Bendo  and  Ricardo.  Acted  March  4,  1592.  Hens- 
lowe. 

I,  10.   (2)  The  Turkish  Mahomet  and  Hiren  the  Fair  Greek. 

George  Peele.  This  lost  play  is  supposed  to  be  the 
Mahomet  of  Henslowe's  Diary,  Aug.  14,  1594. 
Compare  also, 

(3)  Osmund  the  Great  Turk.   1657.   Svo.  Lodowick 
Carlell. 

(4)  The  Unhappy  Fair  Irene.    1658.   4to.  Gilbert 
Swinhoe. 

II,  37.    (5)  Edward  III.    1596.    4to.  Anonymous. 
II,   9.    (6)  Romeo  and  Juliet.    1597.    4to.  Shakspere. 

I,  20.   (7)  Much  Ado  About  Nothing.  1600.  4to.  Shakspere. 

I,   3.    (8)  The  Merry  Wives  of  Windsor.  1602.  4to.  Shak- 
spere. 

II,  34.    (9)  The  Life  and  Death  of  Thomas  Lord  Cromwell. 
1602.    W.  S. 

I,  41.  (10)  The  Wonder  of  Women,  or  Sophonisba  her  Tragedy. 

1606.    4to.  Marston. 
1,49.(11)  A  Woman  Killed  vnth  Kindness.  1607.  4to.  Hey- 

wood. 

Ill,  17.  (12)  The  Dumb  Knight.    1608.   4to.   Markham  and 
Machin. 

(13)  The  Queen,  or  The  Excellency  of  her  Sex.  1653. 
Anonymous. 

II,  11.  (14)  The  Atheist's  Tragedy.  1611.  4to.  Cyril  Tour- 
neur. 

I,   4.(15)  The  Insatiate  Countess  {Barksted' s  Tragedy) .  1613. 

4to.  Marston.  Also,  i,  15,  for  the  comic  underplot. 
I,  26.  (16)  The  Duchess  of  Malji.    1623.    4to.  Webster. 
II,  36.  (17)  Twelfth  Night.    1623.    Folio.  Shakspere. 

III,  18.  (18)  Albovine,  King  of  the  Lombards.   1629.  4to.  Sir 

William  Davenant. 
I,  21.  (19)  The  Picture.    1630.    4to.  Massinger. 

IV,  1.  (20)  The  Broken  Heart.    1633.    4to.  Ford. 
I,  35.  (21)  Love's  Cruelty.    1640.    4to.  Shirley. 


ROMANCES  IN  PROSE 


43 


II,  15.  (22)  The  Maid  in  the  Mill  1647.  Folio.  Fletcher. 
I,  42.  (23)  Four  Plays  in  One.  1647.  Folio.  Beaumont  and 
Fletcher. 

Triumph  of  Death  (Story  of  the  Buondelmonte  and 
the  Amidei.  Dante.  II  Paradiso,  Canto  xvi,  66- 
140;  also  Machiavelli,  Istorie  Fiorentine,  Lib,  ii, 
and  Ser  Giovanni  Fiorentino,  //  Pecorone,  viii,  1). 

I,  26.  (24)  Gripus  and  Hegio.   1647.  Folio.  Robert  Baron. 
This  play  is  made  out  of  The  Duchess  of  Malfi. 
Ill,  19.  (25)  The  Mad  Lover.    1647.    Foho.  Fletcher. 

I,  20.  (26)  The  Law  Against  Lovers.   1673.  Folio.  Sir  Wil- 
liam Davenant. 

This  play  is  simply  a  mixture  of  the  two  plots  of 
Much  Ado  About  Nothing  and  Measure  for  Meas- 
ure. 

Ill,  18.  (27)  The  Witch.  1788.    8vo.  Middleton. 

Again,  the  story  of  Rosamunda,  told  by  Machia- 
velli, in  his  Istorie  Fiorentine,  and  after  him  by 
Bandello,    Belleforest,    and    Queen  Margaret. 
Compare  Albovine,  King  of  the  Lombards. 
The  Novels  of  Matteo  Bandello  Bishop  of  Agen  now  first  done 
into  English  Prose  and  Verse  by  John  Payne  Author  of  The 
Masque  of  Shadows  Intaglios  Songs  of  Life  and  Death  Lautrec 
New  Poems  etc.  and  Translator  of  The  Poems  of  Master  Francis 
Villon  of  Paris  The  Book  of  the  Thousand  Nights  and  One  Night 
Tales  from  the  Arabic  The  Decameron  of  Giovanni  Boccacci  {II 
Boccaccio)  and  Alaeddin,  etc. 

London :  mdcccxc  :  Printed  for  the  Villon  Society  by  Private 
Subscription  and  for  Private  Circulation  Only. 

27 

1581.  Rich  his  Farewell  to  Militarie  Profession;  conteining  very 
pleasant  Discourses ,  in  8  Novels,  fit  for  a  peaceable  Time.  Gath- 
ered to-g ether  for  the  onely  Delight  of  the  courteous  Gentlewomen 
both  of  England  and  Ireland,  for  whose  onely  Pleasure  they  were 
collected  to-gether,  and  unto  whom  they  are  directed  and  dedicated. 


44  ELIZABETHAN  TRANSLATIONS 


Newly  augmented.  By  Barnaby  Riche,  Gentleman.  Malui  me 
divitem  esse  qua  vocari. 

Imprinted  at  London  by  Robert  Walley.  1581.  4to.  Bod- 
leian.  Also,  newly  augmented.  1606.  4to.  Bodleian.  1846. 
8vo.  Shakespeare  Society.  J.  P.  Collier  (reprint  of  the  Bod- 
leian copy  of  1581). 

There  are  two  dedications,  one  addressed  to  "the  right  cour- 
teous gentlewomen,  both  of  England  and  Ireland,"  and  the 
other  "to  the  noble  souldiers  both  of  England  and  Ireland," 
besides  an  interesting  address  "to  the  readers  in  general." 
Rich  found  a  warm  encourager  of  his  literary  ambition  in  Sir 
Christopher  Hatton,  whose  house  at  Holdenby  he  has  minutely 
described  in  this  work. 

There  are  nine  novels  in  this  collection,  four  of  them  Italian, 
the  other  five,  "forged  only  for  delight."  The  popular  tale  of 
Belphegor  was  apparently  added  as  an  afterthought  to  give 
wind  to  the  author's  sail.  Rich  tells  the  story  of  a  King  of  Scot- 
land, which  caused  so  much  displeasure  to  James  VI.  when  he 
read  the  book  in  1595  that  the  attention  of  Bowes,  the  English 
agent,  was  called  to  the  matter.  {Calendar  State  Papers,  Scot- 
land,  II,  683.)   The  titles  read,  — 

1.  Sappho,  Duke  of  Mantona. 

2.  Apolonius  and  Silla.    Bandello,  ii,  36. 

3.  Nicander  and  Lucilla.    Giraldi,  Gli  Hecatommithi,  vi,  3. 

4.  Fineo  and  Fiamma.    Giraldi,  Gli  Hecatommithi,  ii,  6. 

5.  Two  Brethren  and  their  Wives. 

6.  Gonzales  and  his  virtuous  wife  Agatha.  Giraldi,  Gli  Heca- 
tommithi, III,  5. 

7.  Arimanthus  home  a  leper, 

8.  Philotus  and  Emilia. 

9.  Belphegor.    Machiavelli.    Belfagor  Arcidiavolo. 

Rich  says  that  his  third,  fourth,  and  sixth  tales  are  drawn 
from  the  Italian  of  'Maister  L.  B.'  Sidney  Lee  takes  this  to  be 
an  inaccurate  reference  to  Matteo  Bandello.  Very  likely  Rich 
confused  Giraldi  and  Bandello. 

Four  of  these  romances  were  dramatized  on  the  Elizabethan 
st^ge. 


ROMANCES  IN  PROSE 


45 


1.  Sapphoy  Duke  of  Mantona,  is  the  source  of  the  play,  The 
Weakest  Goeth  to  the  Wall,  1600,  4to,  attributed,  for  no 
particular  reason,  to  Webster. 

2.  The  history  of  Apolonius  and  Silla  is  the  story  of  Twelfth 
Night.  1623.  Folio.  Shakspere  also  used  Rich's  story  for 
The  Two  Gentlemen  of  Verona.  1623.  Folio.  There  is  a  re- 
print of  the  story  in  Collier's  and  Hazlitt's  Shakespeare's 
Library.  Part  i.  Vol.  i.  It  is  found  in  Bandello,  ii,  36,  the 
tale  of  Nicuola;  in  Belief orest,  torn,  iv,  hist.  7;  in  Cin- 
thio's  Gli  Hecatommithiy  and  in  three  Italian  Inganni  com- 
edies. The  same  theme  furnishes  the  plot  of  a  French 
play,  Les  Abuses,  1543,  translated  from  the  Italian,  and 
of  Lope  de  Rueda's  Comedia  de  los  Enganos. 

6.  Gonzales  and  his  virtuous  wife  Agatha,  which  is  a  transla- 
tion of  Giraldi's  romance  of  Consalvo  and  Agata,  Gli  Heca- 
tommithi,  v,  3,  is  the  source  of  the  anonymous  comedy, 
HowaManmayChuseaGoodWifefromaBad.  1602.  4to. 
In  the  Garrick  Collection  this  comedy  is  ascribed  to  Joshua 
Cooke,  but  Fleay  thinks  Thomas  Heywood  wrote  it. 

8.  Philotus  and  Emilia  found  dramatic  expression  in  Sir 
David  Lyndsay's  comedy,  Philotus.    1603.  4to. 

9.  Belphegor,  founded  on  Machiavelli's  Novella  di  Belfagor 
Arcidiavolo,  is  the  subject  of  four  English  plays,  — 

a.  Grim  the  Collier  of  Croydon,  or  The  Devil  and  his  Dame. 
Licensed  1600.  Printed  in  1662.  12mo.  William  Haugh- 
ton. 

h.  If  it  be  not  good,  the  Devil  is  in  it.  1612.  4to.  Thomas 
Dekker. 

c.  The  Devil  is  An  Ass.    1641.    Folio.    Ben  Jonson. 

d.  Belphegor.    1690.    John  Wilson. 

Belphegor  is  the  devil  married  to  a  shrewish  wife. 

28 

1581.  The  straunge  and  wonderfull  Aduentures  of  Don  Simon- 
ides,  a  Gentilman  Spaniarde. 

London,  by  Robert  Walley.  1581.  4to.  Black  letter.  Bodleian, 


46  ELIZABETHAN  TRANSLATIONS 


Dedicated,  by  the  author,  Barnabe  Rich,  to  Sir  Christopher 
Hatton. 

This  is  a  prose  romance,  interspersed  with  poetry.  It  is  in- 
fluenced by  Lyly's  Euphues,  and  was  corrected  by  Thomas 
Lodge.  Warton  beheved  he  had  seen  an  Italian  original. 

The  Second  Tome  of  the  Trauailes  and  Aduentures  of  Don 
Simonides. 

London,  for  Robert  Walley.  1584.  4to.  Black  letter.  Brit- 
ish Museum.  Bodleian. 

Dedicated  to  Sir  Christopher  Hatton. 

One  of  the  metrical  pieces  is  170  lines  of  very  monotonous 
blank  verse.  A  chapter  detailing  the  hero's  visit  to  Philautus 
in  London  results  in  a  panegyric  on  Queen  Elizabeth. 

29 

1582.  An  Heptameron  of  Ciuill  Discourses.  Containing:  The 
Christmasse  Exercise  of  sundrie  well  Courted  Gentlemen  and 
Gentlewomen.  In  whose  hehauiours,  the  better  sort,  may  see,  a 
represetation  of  their  own  Vertues:  And  the  Inferiour,  may  learne 
such  Rules  of  Ciuil  Gouernmet,  as  wil  rase  out  the  Blemish  of  their 
hasenesse:  Wherin  is  Renowned,  the  Vertues,  of  a  most  Honour- 
able and  braue  mynded  Gentleman  [Phyloxenus].  And  herein, 
also,  [as  it  were  in  a  Mirrour]  the  Unmaried  may  see  the  Defectes 
whiche  Eclipse  the  Glorie  of  Mariage:  and  the  wel  Maried,  as  in  a 
Table  of  Housholde  Lawes,  may  cull  out  needefull  Preceptes  to 
establysh  their  good  Fortune.  A  Worke,  intercoursed  with  Ciuyll 
Pleasure,  to  reaue  tediousnesse  from  the  Reader:  and  garnished 
with  M  or  all  Noates  to  make  it  profitable,  to  the  Regarder.  The  Re- 
porte  of  George  Whetstone.  Gent,  Formae  nulla  fides. 

At  London.  Printed  by  Richard  Jones,  at  the  signe  of  the 
Rose  and  the  Crowne,  neare  Holburne  Bridge,  3  Feb.  1582. 
4to.  Black  letter.  94  leaves.  British  Museum  (2  copies). 

Dedicated  "To  the  Right  Hon.  Sir  Christopher  Hatton,  Knt. 
Captaine  of  the  Queene's  Majesties  garde,  viz.  Chamberlaine 
to  her  Highnesse.'* 

An  Heptameron  of  Ciuill  Discourses.  Containing:  The  Christ- 


ROMANCES  IN  PROSE 


47 


masse  Exercise  of  sundrie  well  Courted  Gentlemen  and  Gentle- 
women. A  Workey  inter  coursed  with  Ciuyll  Pleasure,  to  reaue 
tediousnesse  from  the  Reader:  and  garnished  with  Morall  Noates 
to  make  it  profitahlcy  to  the  Regarder.  The  Reporte  of  George 
Whetstone,  Gent. 

At  London,  printed  by  Richard  lones,  at  the  Sign  of  the  Rose 
and  Crowne,  near  Holburne  Bridge.  3  Feb.  1582.  4to.  Black 
letter.    94  leaves. 

An  edition  of  the  Heptameron  of  the  same  date  as  the  preced- 
ing, but  with  a  very  different  title. 

Aurelia.  The  Paragon  of  pleasure  and  Princely  delights; 
Contayning  the  seuen  dayes  Solace  (in  Christmas  holy  dayes)  of 
Madona  Aurelia,  Queene  of  the  Christmas  Pastimes,  &  sundry 
other  well-courted  Gentlemen  &  Gentlewomen,  in  a  noble  Gentle- 
mans  Pallace.    By  G.  W.  Gent. 

London,  printed  by  R.  lohnes,  at  the  Rose  &  Crowne,  neere 
Holburne  Bridge.  1593.  4to.  Black  letter.  British  Museum, 

Aurelia  is  the  second  edition  of  the  Heptameron.  The  earliest 
English  verses  of  Thomas  Watson  are  prefixed  to  the  Hep- 
tameron, of  1582.    They  are  entitled, 

r.[homas]  ^F.[atson]  Esquier,  In  the  commendation  of  the 
Aucthor,  and  his  needeful  Booke. 

Euen  as  the  fniictfull  Bee,  doth  from  a  thousand  Flowers, 
Sweet  Honie  draine,  and  layes  it  up,  to  make  the  profit  ours: 
So,  Morall  Whetstone,  to  his  Countrey  doth  impart, 
A  Worke  of  worth,  culd  from  ye  wise,  with  ludgement,  wit  and 
art.  etc. 

The  Heptameron  of  Civill  Discourses  is  a  collection  of  tales  in 
prose,  interspersed  with  poetry,  and  divided  after  the  man- 
ner of  the  Italian  novelists  into  seven  'days'  and  one  *  night.* 

The  first  Dayes  exercise.  Chiefly  contayning:  A  ciuill  Conten- 
tion, whyther  the  maryed  or  single  lyfe  is  the  more  worthy. 

One  of  Whetstone's  tales  of  the  first  day  is  the  Soixante 
Onziesme  Nouvelle,  of  L' Heptameron  des  Nouvelles  of  Marguerite 
d'Angouleme,  Queen  of  Navarre,  La  femme  d'un  scellier, 
grievement  malade,  se  guerir  et  recouvra  la  parole,  qu^elle  avoit 


48  ELIZABETHAN  TRANSLATIONS 


perdue  Vespace  de  deux  jours,  voyant  que  son  mary  retenoit  sur  un 
lid  trop  privement  sa  chamheriere,  pendant  qu^elle  tiroit  a  sa  fin. 

In  The  Thyrd  Dayes  Exercise.  Contayning  ...  a  large  Dis- 
couerie  of  the  inconueniences  of  Rash  Mariages,  Whetstone  bor- 
rows the  Trente  Deuxieme  Nouvelle  of  UHeptameron  des  Nou- 
velles.  It  is  Painter's  Wife  Punished,  i,  57,  with  *  une  peyne  plus 
desagreahle  que  la  mort.'  Davenant's  Albovine,  King  of  the  Lom- 
bards, 1629,  4to,  and  Middleton's  The  Witch,  1788,  8vo,  are 
founded  on  this  tale. 

The  fourth  Daies  exercise.  Containing:  varietie  of  necessarie 
Discourses,  and  yet  withall,  the  greater  part  appertaining  to  the 
generall  argument  of  Marriage,  relates  The  adventure  of  Fryer 
Inganno.  This  story  mixes  two  of  Boccaccio's  tales  against 
monks  and  friars,  Decameron,  iv,  2,  Frate  Alberto  masquerad- 
ing as  the  Angel  Gabriel,  and  vni,  4,  Madonna  Piccarda's  trick 
exposing  the  immoral  Provost  of  Fiesole.  To  overcome  the 
girl's  virtue  Fryer  Inganno  used  the  priest's  argument  in  Queen 
Margaret's  Soixante  Douziesme  Nouvelle,  *'que  ung  peche  secret 
n'estoit  point  impute  devant  Dieu.^^ 

Another  'exercise'  of  the  Fourth  Day  is  The  rare  Historic  of 
Promos  and  Cassandra,  reported  by  Madam  Isabella,  which 
Whetstone  had  already  published,  in  1578,  as  a  play.  It  is  the 
story  of  Shakspere's  Measure  for  Measure,  and  Whetstone 
found  it  in  Cinthio's  Gli  Hecatommithi.  Decade  8.  Novel  5. 
Cinthio  dramatized  his  own  story  as  Epitia. 

Promos  and  Cassandra  is  reprinted  in  Hazlitt's  Shakespeare^ s 
Library,  i,  iii,  153-166.  The  two  parts  of  the  play,  with 
some  scenes  omitted,  will  be  found  in  the  appendix  to 
Measure  for  Measure,  in  Cassell's  National  Library.  No. 
205.  1891. 

Thefift  Daies  Exercise.  Containing  a  breefe  discourse,  touching 
the  excellencie  of  Man:  and  a  large  discouerie  of  the  inconuen- 
iences of  ouer  lofty,  and  too  base  Loue:  with  other  Morall  notes, 
needefull  to  be  regarded.  Among  examples  of  "the  inconven- 
iences of  over  lofty,  and  too  base  love,"  Whetstone  mentions 
two  well-known  stories  from  Bandello,  i,  26,  The  Duchess 


ROMANCES  IN  PROSE 


49 


of  Malfy  (Painter,  ii,  23),  and  i,  4,  The  Countess  of  Celani 
(Painter,  ii,  24,  and  Fenton,  vii).  Maria  Bianca,  "unworthily 
raised  to  bee  Countesse  of  Zelande,  wickedly  and  wilfully  fel  to 
be  a  Courtesan."  "If  you  covet  more  authorities  [he  adds] 
to  approve  so  common  a  mischiefe,  read  Ovid's  Metamor- 
phoses in  Latine,  Segnior  Lodovicus  Regester  in  Italian,  Amadis 
de  Gaule  in  French,  and  the  Pallace  of  Pleasure  in  English.*' 

A  marginal  note  in  the  Heptameron  reads,  "the  fall  of  Maria 
Bianca,  is  written  by  the  author  in  his  booke,  intitul'd  The 
Rocke  of  Regarde''  (1576).  The  tale  is  there  in  verse.  Maria 
Bianca's  story  is  the  theme  of  Marston's  The  Insatiate  Coun- 
tess, 1613,  4to,  sometimes  called  Barksted*s  Tragedy, 

30 

1583.  Philotimus.  The  Warre  betwixt  Nature  and  Fortune. 
Compiled  by  Brian  Melbancke  Student  in  Graies  Inne.  Palladi 
virtutis  famula. 

Imprinted  at  London  by  Roger  Warde,  dwelling  neere  unto 
Holborne  Conduite  at  the  Signe  of  the  Talbot.   1583.  4to. 
117  leaves.    Black  letter.    Bodleian.    British  Museum. 
'  Dedicated  to  "Phillip  Earle  of  Arundell." 

Philotimus  is  an  imitation  of  Lyly's  Euphues,  quaint  and 
interesting  from  the  many  old  proverbs  and  scraps  of  verse  it 
contains.  Two  of  Melbancke's  tales  are  to  be  found  in  Boc- 
caccio's Filocopo,  namely,  Quistione  iv,  The  Enchanted  Garden^ 
again,  and  Quistione  xiii.  The  Enforced  Choice. 

Melbancke  also  relates  a  popular  anecdote  associated  with 
the  name  of  three  different  French  kings.  In  PasquiVs  Jests 
it  is  ascribed  to  Charles  V,  and  is  called,  A  deceyt  of  the  hope 
of  the  couetous  with  a  Turnep.  Giraldi  Cintio,  Gli  Hecatommithi, 
Deca  Sesta,  Novella  Nona,  tells  the  story  of  Francesco  Valesi, 
primo  re  di  Francia  di  tal  nome,  and  Domenichi,  Facezie,  Motti, 
et  Burle,  di  Diner  si  Signori,  of  Lodouico  undecimo  re  di  Francia. 
Mery  Tales,  Wittie  Questions,  and  Quiche  Answeres,  xxiii,  Of 
Kynge  Lowes  of  France  and  the  husbandman,  follows  Dome- 
nichi.   The  germ  of  the  story  is  said  to  be  Arabian. 


50  ELIZABETHAN  TRANSLATIONS 


Philotimus  contains  an  allusion  to  Titus  and  Gisippus,  and, 
on  page  53,  the  story  of  Romeo  and  Juliet  is  referred  to  as  well 
known  and  popular  at  that  time,  — 

"Nowe  Priams  sone  giue  place,  thy  Helen's  hew  is  stainde. 
O  Troylus,  weepe  no  more,  faire  Cressed  thyne  is  lothlye  fowle. 
Nor  Hercules  thou  haste  cause  to  vaunt  for  thy  swete  Omphale : 
nor  Romeo  thou  hast  cause  to  weepe  for  Juliets  losse,"  etc. 

31 

1587.  The  Tragicall  historie  of  Romeus  and  luliet,  Contayn- 
ing  in  it  a  rare  example  of  true  constancie:  with  the  Suhtill  Coun- 
sels and  practises  of  an  old  Fryer,  and  their  ill  euent.  Res  est 
sollidti  plena  timoris  amor. 

At  London.  Imprinted  by  R.  Robinson.  1587.  8vo.  103 
leaves.    Capell  Collection. 

See  The  Tragicall  History e  of  Romeus  and  Juliet,  by  Arthur 
Brooke,  1562, 

32 

1587.  Amorous  Fiammetta;  wherein  is  sette  downe  a  catalogue 
of  all  and  singuler  passions  of  Loue  and  jealosie,  incident  to  an 
enamored  yong  Gentlewoman  with  a  notable  caueat  for  all  women 
to  eschewe  deceitfull  and  wicked  Loue,  hy  an  apparant  example  of 
a  Neapolitan  Lady;  her  approued  and  long  miseries,  and  wyth 
many  sound  dehortations  from  the  same.  First  wrytten  in  Italian 
hy  Master  John  Boccace,  the  learned  Florentine  and  Poet  Laureat. 
And  now  done  into  English  hy  B.  Giouano  del  M.  Temp.  [Bar- 
tholomew Young,  of  the  Middle  Temple.]  With  Notes  in  the 
margine,  and  with  a  table  in  the  end  of  the  chief  est  matters  con- 
tayned  in  it. 

Bel  fine  fa,  chi  hen  amando  muore.  Petrarch:  Sonetto  109  (of 
Sonetti  e  Canzoni  in  vita  di  Madonna  Laura). 

At  London.  Printed  by  J.[ohn]  C.[harlewood]  for  Thomas 
Gubbin  and  Thomas  Newman.  Anno.  1587.  4to.  Black  let- 
ter. 131  leaves.  British  Museum.  Bodleian.  Capell  Collec- 
tion, 


ROMANCES  IN  PROSE 


51 


Dedicated  to  Sir  William  Hatton,  Knight. 

A  translation  of  Boccaccio's  romance,  L'Amorosa  Fiammetta. 
The  heroine  is  the  Princess  Maria,  natural  daughter  of  King 
Robert,  of  Naples,  with  whom  Boccaccio  formed  a  Platonic 
friendship  during  his  life  in  Naples. 

Licensed  to  Thomas  Gubbyn  and  Thomas  Newman,  Sept. 
18,  1587,  as  follows,  — 

Amorous  fiammetta,  translated  out  of  Italian.  Aucthorised 
under  the  bishop  of  Londons  hand."  Stationers*  Register  B. 

33 

1587.  Banishment  of  Cupid. 

London.  Imprinted  for  T.  Marshe.  No  date.  Small  8vo. 
Also,  1587.  12mo. 

An  Italian  romance,  translated  by  Thomas  Hedley. 

In  Stationers'  Register,  B,  Fol.  186  a,  among  Sampson  Awde- 
ley's  copies,  the  Banishment  of  Cupid  appears  as  a  former 
grant.  1581. 

The  story  of  Erona,  Princess  of  Lycia,  in  Sir  Philip  Sidney's 
Arcadia,  Book  ii,  is  a  tale  of  the  banishment  of  Cupid,  and  of 
the  god's  revenge  for  the  spoliation  of  his  pictures  and  statues. 
Erona's  story  is  the  subject  of  two  Elizabethan  plays,  —  Beau- 
mont and  Fletcher's  Cupid's  Revenge,  first  acted  in  1612,  and 
Andromana,  or  The  Merchant's  Wife,  printed  in  1640,  by  J.  S., 
who  may  have  been  James  Shirley. 

34 

1588.  Palmerin  d'Oliva,  the  Mirrour  of  Nohilitie,  turned  into 
English.  By  Anthony  Munday, 

Printed  by  John  Charlwood.    1588.    4to.    Black  letter. 
The  First  Part. 
The  Seconde  Part. 
London.    1597.  4to. 

Palmerin  D'Oliva.  The  First  Part:  Shewing  the  Mirrour  of 
Nohilitie,  the  Map  of  Honour,  Anatomic  of  rare  Fortunes, 
Heroicall  presidents  of  Loue,  wonder  of  Chivalrie,  and  the  most 


52  ELIZABETHAN  TRANSLATIONS 


accomplished  Knight  in  all  perfection.  Presenting  to  noble  minds, 
their  courtly  desire,  to  Gentiles  their  expectations,  and  to  the  in- 
feriour  sort,  how  to  imitate  their  vertues:  handled  with  modestie 
to  shun  offence  yet  delightfull  for  Recreation.  Written  in  Spanish, 
Italian,  and  French:  and  from  them  turned  into  English,  by 
yl.[nthony]  M.[unday],  one  of  the  Messengers  of  his  Majesties 
Chamber.    Patere  aut  abstine. 

London:  Printed  for  B.  Alsop  and  T.  Fawcet,  dwelling  in 
Grub  street  neere  the  lower  Pumpe.  1637.  4to.  Black  letter. 
399  leaves.    British  Museum. 

Palmerin  D*oliva.  The  Second  Part:  of  the  Honourable  His- 
toric of  Palmerin  D'Oliva.  Continuing  his  rare  fortunes,  Knightly 
deeds  of  Chiualrie,  happy  successe  in  hue,  and  how  he  was  crowned 
Emperour  of  Constantinople.  Herein  is  likewise  concluded  the 
variable  troubles  of  the  Prince  Trineus,  and  faire  Agriola  the 
King*s  daughter  of  England:  with  their  fortunate  Marriage. 
Translated  by  ^.[nthony]  M.[unday]. 

London.  Printed  for  B.  Alsop  and  T.  Fawcet,  dwelling  in 
Grub  street  neere  the  lower  Pumpe.  1637.  4to.  Black  letter. 
399  leaves. 

Part  I  is  dedicated,  "To  the  worshipfull,  Mr.  Francis  Yong, 
of  Brent-Pellam,  in  the  County  of  Hertford  Esquire,  and  to 
Mistresse  Susan  Yong  his  wife,  and  my  most  kind  Mis- 
tresse.'* 

Part  II  is  dedicated  to  Edward  de  Vere,  Earl  of  Oxford.  Pal- 
merin d'Oliva,  with  other  chivalric  romances,  is  satirized  by 
Beaumont  and  Fletcher,  in  The  Knight  of  the  Burning  Pestle, 
I,  3.  1613. 

Compare,  "before  he  took  his  journey  wherein  no  creature 
returneth  agaie,"  Part  ii.  Chap.  3,  with  Hamlet's, 

The  undiscovered  country  from  whose  bourn 
No  traveller  returns,    (in,  1.) 

Libro  del  famoso  Cavallero  Palmerin  de  Oliva  y  de  sus  grandes 
Hechos.  Seville.  1525.  Folio.  Venice.  1526.  Spanish  edition 
dedicated  to  Cesare  Triulsci.  Venice.  1533.  12mo  (in 
Spanish). 


ROMANCES  IN  PROSE 


53 


From  some  Latin  verses  at  the  end  it  is  conjectured  that  the 
romance  was  written  by  a  woman. 

VHistoire  de  Palmerin  d' Olive  fils  du  Roy  Florendos  de  Mace- 
doine,  et  la  belle  Griane  fille  de  Remicius  EmperJ  de  Constan- 
tinople; trad,  du  Castillan  par  Jean  Maugin. 

Paris,  GrouUeau.  1553.  Folio.  1573.  8vo.  2  vols.  Also 
Lion.    Rigaud.    1619.    16mo.    2  vols. 

Palmerin  d'Oliva  has  been  considered  the  best  of  the  Pal- 
merin series,  but  Cervantes  condemned  it  to  the  flames.  — 
"  Let  Oliva  bee  presently  rent  in  pieces,  and  burned  in  such  sort, 
that  even  the  very  ashes  thereof  may  not  bee  found." 

Book  I,  Chapter  vi,  "Of  the  pleasant  and  curious  search 
and  inquisition  made  by  the  Curate  and  Barber  of  Don  Quix- 
otes Librarie." 

The  History  of  Don  Quixote  of  the  Mancha.  Translated  from 
the  Spanish  of  Miguel  de  Cervantes  by  Thomas  Shelton.  Annis 
1612,  1620.    With  Introduction  by  James  Fitzmaurice-Kelly. 

London.    D.  Nutt.    1896.    Tudor  Translations,  xiii. 

Emmanuel  Ford's  Parismus,  of  which  Sir  Sidney  L.  Lee 
records  twenty-four  editions,  between  1598  and  1704,  was 
modelled  on  Palmerin  d'Oliva.  M.  Jusserand  observes  that 
Ford's  romances,  he  also  wrote  Ornatus  and  Artesia,  were  far 
more  popular  than  any  play  of  Shakspere.  The  number  of  edi- 
tions of  them,  even  up  into  the  eighteenth  century,  is  extraor- 
dinary. 

35 

1588.  Perimides  the  Blacke-Smith:  A  golden  methode  how  to  use 
the  minde  in  pleasant  and  profitable  exercise.  Wherein  is  contained 
speciall  principles  fit  for  the  highest  to  imitate,  and  the  meanest 
to  put  in  practise,  how  best  to  spend  the  wearie  winters  nights,  or 
the  longest  summers  Evenings,  in  honest  and  delightfull  recreation. 
Wherein  we  may  learne  to  avoide  idlenesse  and  wanton  scurrilitie, 
which  divers  appoint  as  the  end  of  their  pastimes.  Heerein  are 
interlaced  three  merrie  and  necessarie  discourses  fit  for  our  time: 
with  certaine  pleasant  Histories  and  tragicall  tales,  which  may 


54  ELIZABETHAN  TRANSLATIONS 


breed  delight  to  all,  and  offence  to  none.  Omne  tulit  punctum,  qui 
miscuit  utile  dulci.    Robert  Greene. 

London.  Printed  by  John  Wolfe,  for  Edward  White.  1588. 
4to.    31  leaves.    British  Museum.  Bodleian. 

Dedicated,  "To  the  right  worship.  Geruis  Clifton  Esquire.'* 

This  is  a  collection  of  love-stories  told  in  the  Italian  manner, 
and  largely  borrowed  from  Boccaccio.  The  Memphian  black- 
smith, Perimides,  and  his  wife,  Delia,  relate  them  to  each  other 
after  their  day's  work  is  done.  As  in  Greene's  Menaphon,  some 
charming  poetry  is  scattered  here  and  there  throughout. 

Perimides's  tale  of  the  first  night,  Mariana's  story,  is  a  close 
copy  of  the  story  of  Madonna  Beritola  Caracciola.  Decameron, 
II,  6. 

For  the  second  night's  discourse,  Delia  tells  the  story  of 
Constance  of  Lipari.    Decameron,  v,  2. 

A  prefatory  "Address  to  the  Gentlemen  Readers"  contains 
a  satirical  notice  of  Marlowe's  Tamhurlaine. 

Madrigal 
Fair  is  my  love,  for  April  *s  in  her  face. 
And  lordly  July  in  her  eyes  hath  place; 
Her  lovely  breast  September  claims  his  part. 
But  cold  December  dwells  within  her  heart. 

This  madrigal  occurs  in  a  slightly  different  form  in  Thomas 
Morley's  Madrigals  to  four  voices.  1594. 

April  is  in  my  mistress*  face. 
And  July  in  her  eyes  hath  place: 
Within  her  bosom  is  September, 
But  in  her  heart  a  cold  December. 

Unless  Morley  has  plagiarized  Greene,  both  madrigals  would 
seem  to  be  translated  from  the  same  original,  probably  Italian. 

36 

1590.  The  Cobler  of  Caunterhurie,  Or  An  Inuectiue  Against 
Tarltons  Newes  out  of  Purgatorie.  A  jnerrier  lest  then  a  Clownes 
ligge,  and  fitter  for  Gentlemens  humors.  Published  with  the  cost 
of  a  dickar  of  Cowe  hides. 


ROMANCES  IN  PROSE 


55 


With  these  persons 


At  London.  Printed  by  Robert  Robinson.  1590.  4to.  Black 
letter.  40  leaves.  Bodleian.  Also,  1608.  4to.  British  Museum 
(reprinted,  1862,  by  Mr.  Frederick  Ouvry),  and  1614.  In  1630, 
The  Cohler  was  issued  with  alterations  and  a  new  title,  — 

The  Tincker  of  Turvey,  his  merry  Pastime  in  his  passing  from 
Billingsgate  to  Graues-End.  The  Barge  being  Freighted  with 
Mirth,  and  Manned 

Trotter  the  Tincker 
Yerker,  a  Cohler 
Thumper,  a  Smith 
Sir  Rowland,  a  Scholler 
^  Bluster,  a  Sea-man 
And  other  Mad-merry  fellowes,  euery-One  of  them  Telling  his 
Tale:  All  which  Tales  are  full  of  Delight  to  Reade  ouer,  and  full 
of  laughter  to  he  heard.  Euery  Tale-teller  heing  Descrihed  in  a 
Neate  Character.   The  Eight  seuerall  Orders  of  Cuckolds,  march- 
ing here  likewise  in  theyr  Horned  Rankes. 

London.  Printed  for  Nath.  Butter,  dwelling  at  St.  Austins 
Gate.  1630.  4to.  Black  letter.  Bodleian.  1859.  4to.  (J.  O. 
Halliwell.) 

The  Cohler  of  Caunterhurie  was  attributed  to  Robert  Greene, 
but  he  denied  the  authorship,  in  his  Vision,  1592-3,  calling  it 
"incerti  authoris,**  and  speaking  of  it  as  "a  merrie  worke,  and 
made  by  some  madde  fellow,  conteining  plesant  tales,  a  little 
tainted  with  scurilitie."  The  Catalogue  of  Early  English  Books 
enters  The  Cohler  under  the  name  "Richard  Tarlton." 

The  first  story  of  the  Cohler,  The  Smith* s  Tale,  is  found  both 
in  the  Decameron,  vii,  7,  and  in  the  Pecorone,  iii,  2,  of  Ser  Gio- 
vanni Fiorentino.  It  is  Le  Cocu,  hattu,  et  content,  of  La  Fon- 
taine, Contes  et  Nouvelles  Poemes,  m,  an  extremely  popular 
mediaeval  story  turning  up  repeatedly  in  nearly  every  modern 
language.  In  Elizabethan  dramatic  literature,  it  furnishes  the 
underplot  of  Robert  Davenport's  tragi-comedy,  The  City  Night- 
cap, or  Crede  quod  hahes  et  hahes,  licensed  1624,  printed  1661. 
The  intrigue  is  also  made  use  of  in  two  comedies  of  the  Restora- 
tion, —  Love  in  the  Darke:  or.  The  Man  of  Business,  "acted  at 


56  ELIZABETHAN  TRANSLATIONS 


the  theatre  royal  by  his  Majestie's  servants"  —  written  by  Sir 
Francis  Fane,  Jr.,  Knight  of  the  Bath,  1675,  and  The  London 
Cuckolds,  1682,  4to,  by  Edward  Ravenscroft. 

For  an  account  of  the  whole  matter,  see  W.  H.  Schofield, 
The  Source  and  History  of  the  Seventh  Novel  of  the  Seventh  Day 
in  the  Decameron^  in  Studies  and  Notes  in  Philology  and  Litera- 
ture, Harvard  University,  1892. 

Koeppel  calls  attention  to  the  fact  that  The  Old  Wiues  Tale, 
No.  2,  mixes  Decameron,  vii,  1,  and  vii,  8,  Monna  Tessa  and 
the  phantom  and  Monna  Sismonda  with  the  string  around 
her  toe.  {Studien  zur  Geschichte  der  Italienischen  Novelle,  xiii.) 

See  The  Merry  Tales  of  the  Mad  Men  of  Gottam,  1630. 

37 

[Before  1590.]  Tarltons  Newes  out  of  Purgatorie.  Onelye  such 
a  Jest  as  his  Jigge,  fit  for  Gentlemen  to  laugh  at  an  home.  Pub- 
lished by  an  old  companion  of  his,  Robin  Goodfellow. 

At  London.  Printed  for  Edward  White,  n.  d.  [before  1590]. 
4to.  Black  letter.  28  leaves.  Bodleian.  Also,  London,  G.[eorge] 
Purslowe,  .  .  .  sold  by  F.  Grove.  1630.  4to.  Black  letter.  26 
leaves.  Bodleian.  British  Museum.  Reprinted  by  the  Shakes- 
peare Society.    J.  O.  Halliwell.    1844.  8vo. 

At  the  end  of  this  book,  we  are  told  that  as  a  punishment  for 
his  sins  on  earth  Tarlton  had  been  appointed  "to  sit  and  play 
Jigs  all  day  on  his  taber  to  the  ghosts." 

Richard  Tarlton  was  the  best  clown  actor  of  his  time,  and 
was  so  celebrated  for  his  wit  that  many  jests  pass  under  his 
name.  It  was  such  a  nimble  wit  that  people  used  to  toss  him 
jests  from  the  pit  just  to  bring  out  his  ready  repartee.  He  was 
in  no  way  responsible  for  this  book,  which  has  been  attributed 
to  Thomas  Nash.  Whether  Nash  was  the  author  or  not,  the  jests 
provoked  a  reply  in  the  same  year.  The  Cobler  of  Caunterburie. 

"Our  Tarlton  was  master  of  his  faculty.  When  Queen  Eliza- 
beth was  serious  (I  dare  not  say  sullen)  and  out  of  good  humour, 
he  could  un-dumpish  her  at  his  will."  (Dr.  T.  Fuller,  Worthies 
of  England,  ed.  1840,  iii,  140.) 


ROMANCES  IN  PROSE 


57 


No.  1.  The  Tale  of  Friar  Onyon:  why  in  Purgatory  he 
was  tormented  with  waspes.  This  story  is  iv,  2,  of  the  Decameron, 
Boccaccio's  Frate  Alberto  da  a  vedere  ad  una  donna  che  VAgnolo 
Gabriello  e  di  lei  innamorato.  Tarlton  confuses  Frate  Alberto 
with  Frate  Cipolla,  one  of  whose  deceptions,  of  another  sort,  he 
relates  in  No.  5,  The  Tale  of  the  Vickar  of  Bergamo  and  why  he 
sits  with  a  coale  in  his  mouthe  in  Purgatory.  Friar  Onion,  De- 
cameron, VI,  10,  promised  to  show  to  the  devout  a  feather  of  the 
Angel  Gabriel.  His  waggish  servant  substituted  coals  for  the 
feather.  Friar  Onion,  equal  to  the  occasion,  showed  the  coals, 
and  declared  them  to  be  the  very  coals  that  had  roasted  St. 
Lawrence. 

No.  4.  The  Tale  of  the  Cooke,  and  why  he  sat  in  Purgatory  with 
a  Cranes  Leg  in  his  Mouth,  is  Boccaccio's  amusing  story  of  the 
crane  with  one  leg,  Messer  Currado  Gianfiliazzi  and  his  cook, 
Chichibio,  Decameron,  vi,  4. 

No.  7.  Why  the  Gentlewoman  of  Lyons  sat  with  her  Haire  dipt 
off  in  Purgatory,  is  Decameron,  vii,  6,  Madonna  Isabella  and  her 
two  lovers,  Lionetto  and  Lambertuccio,  the  old  jest  Of  the  in- 
holders  wife  and  her  ii  lovers,  Mery  Tales,  Wittie  Questions,  and 
Quicke  Answer es.  51. 

No.  8.  The  Tale  of  the  two  Lovers  of  Pisa,  and  why  they  were 
whipped  in  Purgatory  with  nettles,  is  an  adaptation  of  the  story 
of  Bucciolo  and  Pietro  Paulo,  of  II  Pecorone,  1,  2,  Ser  Giovanni 
Fiorentino;  copied  as  the  story  of  Filenio  Sisterna  of  Bologna, 
in  Le  Tredici  piacevole  notte,  4,  4,  Ser  Giovan  Francesco  Stra- 
parola.  It  is  the  source  of  The  Merry  Wives  of  Windsor. 

38 

1592.  Philomela,  The  Lady  Fitzwaters  Nightingale.  By  Robert 
Greene.  Utriusque  Academiae  in  Artibus  Magister.  Sero  sed 
serio.    II  vostro  Malignare  non  Giova  Nulla. 

Imprinted  at  London  by  R.  B.  for  Edward  White,  and  are 
to  be  sold  at  the  litle  North  dore  of  Paules.  1592.  4to.  Black 
letter.  1607.  1615.  4to.  1631.  4to.  1814.  4to,  in  Archaica, 
Part  I,  by  Sir  S.  E.  Brydges.  Reprinted  from  the  edition  of 
1615.    Forbes  Library, 


58  ELIZABETHAN  TRANSLATIONS 


Dedicated  "To  the  right  honourable  the  Lady  Bridget  Rat- 
diffe,  Lady  Fitzwaters." 

Philomela  is  the  wife  of  a  Venetian  nobleman.  Count  Filippo 
Medici,  who  in  the  first  part  of  the  story  employs  his  intimate 
friend,  Giovanni  Lutesio,  to  *make  experience  of  his  wife's  hon- 
esty.' The  same  episode  occurs  in  the  story  of  the  Curioso  Im- 
pertinente  in  Don  Quixote,  Part  i,  Chap.  33,  though  it  is  unlikely 
that  Greene  and  Cervantes  copied  from  each  other.  They  prob- 
ably had  a  common  source  in  some  old  Italian  novella. 

Professor  Schelling  (Elizabethan  Lyrics,  p.  54)  reprints,  — 
PhilomeWs  Ode  that  She  Sung  in  her  Arber, 
Sitting  by  a  river  side,  etc. 

The  concluding  episode  of  Philomela  is  taken  from  Boc- 
caccio's tale  of  Titus  and  Gisippus.  Decameron,  x,  8.  "Might 
not  Greene  be  slightly  indebted  to  Boccaccio  for  the  fundamen- 
tal idea  of  Philomela  {Decameron,  ii,  9)  from  which  Shakspere 
borrowed  the  plot  of  his  Cymbeline?'^  (A.  B.  Grosart.) 

Cymbeline  is  founded  on  Boccaccio's  story  of  Zinevra.  De- 
cameron, II,  9. 

Robert  Davenport's  tragi-comedy,  The  City  Nightcap,  or 
Crede  quod  habes  et  habes,  licensed  1624,  printed  1661  is  based  on 
Greene's  Philomela  in  its  main  plot,  that  of  Lorenzo,  Philippo, 
and  Abstemia.  Davenport's  style  is  euphuistic,  too,  and  he 
adopts  Greene's  very  language  occasionally;  e.g.,  — 

O  when  the  Elisander-leaf  looks  green. 

The  sap  is  then  most  bitter.    An  approv'd  appearance 

Is  no  authentic  instance:  she  that  is  lip-holy 

Is  many  times  heart-hollow.  (l,  l). 

See  The  most  wonderfull  and  pleasant  history  of  Titus  and 
Gisippus,  15Q2. 

39 

1593.  Certen  Tragicall  cases  conteyningeL  V histories  with  their 
severall  Declamations  both  accusatorie  and  Defensive,  written  in 
ffrenshe  by  Alexander  Vandenbushe  alias  Sylven,  translated 
by  E.  A. 


ROMANCES  IN  PROSE 


59 


Licensed  to  E.  Aggas  and  J.  WoK,  25  Aug.,  1590.  Station- 
ers* Register y  B. 

Anthony  Munday  based  his  Defence  of  Contraries  on  Sil- 
vain:  — 

The  Defence  of  Contraries.  Paradoxes  against  common  Opin- 
ion, debated  in  Forme  of  Declamations  in  Place  of  public  censure: 
onlie  to  exercise  yong  Wittes  in  difficult  Matters,  <Scc.  Translated 
out  of  French  [of  Silvain,  or  Vandenbush]  by  A,  M.  one  of  the 
Messengers  of  her  Majesty* s  Chamber.  Patere  aut  abstine. 

Imprinted  at  London  by  John  Windet  for  Simon  Waterson. 
1593.    4to.    50  leaves. 

Three  years  later  Munday  expanded  The  Defence  into  The 
Orator:  Handling  a  hundred  severall  Discourses,  in  forme  of 
Declamations:  Some  of  the  Arguments  being  drawne  from  Titus 
Livius,  and  other  Ancient  Writers,  the  rest  of  the  Authors  owne 
inuention:  Part  of  which  are  Matters  happened  in  our  Age. 

Written  in  French  by  Alexander  Siluayn,  and  Englished  by 
L.  P.    [Lazarus  Piot  was  a  pen  name  of  Anthony  Munday.] 

London.  Printed  by  Adam  Islip.  1596.  4to.  221  leaves. 
British  Museum  (3  copies). 

Dedicated  "  To  the  Right  Honorable  my  most  especiall  good 
Lord  John,  Lord  St.  John,  Baron  of  Bletsho." 

The  subject  of  Declamation  95,  is,  "Of  a  Jew,  who  would 
for  his  debt  have  a  pound  of  the  flesh  of  a  Christian."  It  is  one 
of  the  tales  of  //  Pecorone,  iv,  1,  by  Ser  Giovanni  Fiorentino  (ori- 
ginal, Gesta  Romanorum). 

It  is  curious  that  in  the  Gesta  Romanorum  tale,  Englished 
about  1440,  there  is  no  Jew,  while  Munday's  95th  Declamation 
contains  no  lady.  But  in  the  Italian  romance  of  Ser  Giovanni 
Fiorentino,  we  have  both  Jew  and  lady,  and  Lady  of  Belmont, 
too.  She  is  the  wife  of  the  hero  Giannetto,  and  acts  as  judge  in 
the  case;  the  ring  incident  is  also  here,  and  the  lady's  maid,  who 
is  married  to  Ansaldo,  the  Antonio  of  The  Merchant  of  Venice. 
It  seems  clear  that  Shakspere  must  have  taken  the  story  of  the 
bond  from  the  Italian  novel,  either  by  reading  it  himself,  or  by 
having  somebody  tell  it  to  him  with  details  of  incident  and 
character. 


60 


ELIZABETHAN  TRANSLATIONS 


Alexandre  van  den  Busche,  called  le  Sylvain,  1535(?)-1585(?), 
a  Belgian  poet  and  novelist,  wrote,  Le  premier  livre  des  proces 
tragiques,  contenant  LV  histoires,  ensemble  quelque  poesie  morale, 
Paris.  1575.  16mo.  'Reprinted  RsLes  Epitomes  de  cent  histoires 
tragiques.    Paris.    1581-88.  8vo. 

Munday*s  Declamations  are  a  series  of  moot-cases,  put  and 
answered  for  the  sake  of  practice  in  argument.  For  example, 
Declamation  27,  is  0/  him  that  falling  downe  from  the  top  of  his 
house,  slew  another  man,  against  whom  the  sonne  of  the  slaine 
man  demandeth  justice.  The  son  of  the  dead  man  bringing  suit 
on  the  charge  of  murder,  the  judge  decides,  "that  the  said  plain- 
tife  should  ascend  up  to  the  top  of  the  same  house,  and  throw- 
ing himself  downe  upon  the  defendant,  should  kill  him  if  he 
could ! "  Very  naturally  the  plaintiff  appeals  from  this  decision. 
The  defendant  prays  for  release,  on  the  ground  that  he  was 
innocent  of  evil  intent,  that  the  charge  was  frivolous  and  mali- 
cious, that  the  judgment  of  the  lower  court  was  absurd,  and 
lastly,  that  he  might  "be  preserved  to  doe  his  countrie  some 
seruice." 

The  Christians  Answere  to  Declamation  95  is  mainly  an  appeal 
to  race  prejudice  against  the  Jews.  (Sir  S.  E.  Brydges,  Res- 
tituta.  Vol.  IV,  p.  54.) 

40 

1593.  The  Life  and  Death  of  William  Longbeard,  the  most 
famous  and  witty  English  Traitor,  borne  in  the  Citty  of  London. 
Accompanied  with  manye  other  most  pleasant  and  prettie  histories. 
By  T.  L.  [Thomas  Lodge]  of  Lincolnes  Inne,  Gent.  Et  nugae 
seria  ducunt. 

Printed  at  London  by  Rychard  Yardley  and  Peter  Short, 
dwelling  on  Breadstreet  hill,  at  the  signe  of  the  Starre.  1593. 
4to.  Black  letter.  36  leaves.  Bodleian.  Reprinted  in  J.  P. 
Collier's  Illustrations  of  Old  English  Literature,  Vol.  ii.  1860. 
Hunterian  Club.    Glasgow.  1878-82. 

Some  poems  supposed  to  be  addressed  by  Longbeard  to  "his 
faire  lemman  Maudeline"  are  translations  from  Guarini  and 


ROMANCES  IN  PROSE 


61 


other  Italian  poets.  One  of  the  "prettie  histories"  is  that  of 
"Partaritus,  King  of  Lombardie " ;  another,  "an  Excellent 
example  of  continence  in  Francis  Sforza,"  Duke  of  Milan 
(1401-66). 

Pierre  Corneille  wrote,  Pertharite  Roy  des  Lombards,  Tragedie. 
1656.  8vo. 

Michael  Drayton  wrote  a  play  called  William  Longsword. 
Acted  1599.  Henslowe  enters  it  in  his  Diary,  William  Long- 
heard,  but  Drayton's  receipt  corrects  the  name. 

Three  of  the  poems  of  this  romance  are  "Fancies,  after  the 
manner  of  the  Italian  Rimes."  They  are  imitations  of  madri- 
gals by  Livio  Celiano,  taken  from  Rime  di  diversi  celebri  poeti 
deir  eta  nostra:  nuovamente  raccolte,  e  poste  in  luce  in  bergamo, 
M.DLXXxvii.  Per  Comino  Ventura,  e  Compagni  (pp.  95-148  are 
rime  from  Livio  Celiano,  and  pp.  149-181  from  Torquato 
Tasso) . 

One  of  the  "Fancies"  is  a  loose  translation  of  Francesco 
Bianciardi's  madrigal,  Quand'  io  miro  le  rose. 

When  I  admire  the  rose 
That  nature  makes  repose 
In  you  the  best  of  many. 
More  fair  and  blest  than  any. 
And  see  how  curious  art 
Hath  decked  every  part; 
I  think  with  doubtful  view 
Whether  you  be  the  rose,  or  the  rose  is  you. 

Another  rendering  of  this  pretty  song  is  given  by  John 
Wilbye,  in  his  The  First  Set  of  Madrigals,  1598,  where  it  begins, 
Lady,  when  I  behold  the  roses  sprouting. 

A  lyric,  taken  from  Dolce,  has  a  skilfully  contrived  rhythm 
with  repeated  words  and  half -hidden  rimes  which  give  a  singu- 
lar effect  of  lingering  to  the  metre,  — 

I  see  with  my  hearts  bleeding. 

"This  tract  is  a  pseudo-historical  romance  of  the  same  kind 
as  Lodge's  previous  Robert  the  Devil,  but  more  hastily  put  to- 
gether, and  eked  out  with  a  variety  of  stories  about  famous 


62  ELIZABETHAN  TRANSLATIONS 


pirates,  and  the  melancholy  fates  of  learned  men.  The  tale 
which  gives  its  name  to  the  volume  is  adorned  by  a  variety  of 
odes  and  sonnets,  which  are  pretty  in  themselves,  but  preposter- 
ously out  of  place  in  such  a  prosaic  narrative  of  crime  and  its 
reward."  (E.  W.  Gosse.  Seventeenth-Century  Studies.  Thomas 
Lodge.  1883.) 

Koeppel  shows  by  a  table  how  Lodge  was  indebted  to  Pedro 
Mexia's  Silva  de  varia  leccion,  etc.  (1543)  for  some  of  his 
romances. 

No.  1.  of  "famous  pirats  who  in  times  past  were  Lordes  of 
the  sea  "  (Dionides,  Stilcon,  Cleonides,  Chipanda, 
Millia,  Alcomonius,  Francis  EnteroUes,  Monaldo 
Guecca)  is  Silva,  Part  iv,  Chap.  xv. 

No.  2.  The  historie  of  Partaritus,  King  of  Lomhardie,  is 
Silva,  Part  iii.  Chap.  xvii.  Also,  Belief orest,  His- 
toires  Tragiques,  iv,  74. 

No.  3.  The  wonderfull  dreame  of  Aspatia,  is  Silva,  Part  iv. 
Chap.  I. 

No.  4.  A  wonderfull  revenge  of  Megollo,  is  Silva,  Part  iii, 
Chap.  XXXVI.  Also  Bandello,  ii,  14,  and  Belief  orest, 
Histoires  Tragiques,  i,  14. 

No.  5.  Them£morable deeds  of  Valasca,isSilva,Tarti,Chap. 
III.    Belleforest,  Histoires  Tragiques,  vi,  9. 

No.  6.  An  excellent  example  of  continence  in  Frauncis  Sforza, 
is  Silva,  Part  i.  Chap.  xxv. 

No.  7.  Of  many  learned  men,  ancient  and  moderne,  who  vi- 
olently and  infortunatelie  ended  their  daies,  is  Silva, 
Part  I,  Chap.  xxvi. 

No.  8.  How  King  Roderigo  lost  his  King  dome,  is  Silva, 
Part  I,  Chap.  xxx. 

"Come  il  Re  Roderigo,  ultimo  delta  casa  Regale  de* 
Goti,  perde  il  Regno,  e  la  vita  per  la  sua  incontinenzaJ* 
"Eine  poetische  Grabschrift  dieses  Konigs  jindet  sich 
in  Thomas  Newton's  Historye  of  the  Saracens,'* 
1575. 

No.   9.  Of  manie  famous  men,  whoe  leaving  the  government 


EOMANCES  IN  PROSE 


63 


of  the  CommonweaUy  gave  themselves  over  to  'private 
life,  is  Silvay  Part  ii,  Chap.  i. 
No.  10.  A  most  subtile  dispute  amongst  Amhasadors  is  Silva, 

Part  III,  Chap.  i. 
No.  11.  The  strange  Lawes  of  Tyrsus  the  Tyrant,  is  Silvay 

Part  IV,  Chap.  vii. 
Mexia's  medley  had  been  translated  into  English,  out  of 
French,  of  Claude  Gruget,  in  1571  by  Thomas  Fortescue,  as  The 
Foreste,  or  Collection  of  Histories.  It  was  again  translated  out  of 
Mexia,  Francesco  Sansovino,  and  Antoine  du  Verdier,  in  1613- 
19,  as  The  Treasurie  of  auncient  and  moderne  Times. 
See,  also,  Robert  Chester's  Loues  Martyr.  1601. 

41 

1595.  The  famous  and  renowned  History  of  Primaleon  of 
Greece,  sonne  to  the  great  and  mighty  Prince  Palmerin  d'Oliva, 
Emperor  of  Constantinople;  the  First  Book. 

London.    Printed  for  Cuthbert  Burby.    1595.  4to. 

The  famous  and  renowned  Historie  of  Primaleon  of  Greece, 
Sonne  to  the  great  and  mighty  Prince  Palmerin  d'Oliva,  Emper- 
our  of  Constantinople.  Describing  his  Knightly  deedes  of  Armes, 
as  also  the  memorable  adventures  of  prince  Edward  of  England: 
and  continuing  the  former  history  of  Polendos,  brother  to  the 
fortunate  prince  Primaleon,  &c.  Translated  out  of  French  and 
Italian,  into  English,  by  ^[nthony]  ilf  [unday]. 

London:  Printed  by  Thomas  Snodham.  1619.  4to.  Bod- 
leian.   British  Museum. 

Dedicated  to  Henry  de  Vere,  18th  Earl  of  Oxford. 

Primaleon  was  originally  written  in  Castilian,  and  was  first 
printed  in  1516;  other  editions  were  published  at  Seville,  in 
1524;  at  Venice,  in  1534;  at  Bilboa,  in  1585,  and  at  Lisbon,  in 
1598.  An  Italian  translation  was  published  at  Venice  in  1559, 
and  a  French  one  at  Lyons  in  1572. 

Libro  que  trata  de  los  valerosos  Hechos  en  armas  de  Prima- 
leon hijo  del  Emperador  Palmerin,  y  de  su  hermano  Polendos,  y 
de  Don  Duardos  Princepe  de  Inglaterra,  y  de  ostros  preciados  cav- 
alleros  de  la  corte  del  Emperador  Palmerin.  Seville.  1524.  folio. 


64  ELIZABETHAN  TRANSLATIONS 


VHistoire  de  Primaleon  de  Grece,  continuant  celle  de  Pal- 
merin  d'Olive  Empereur  de  Constantinople  son  pere,  et  autres, 
tirSe  de  Vltalien  comme  de  VEspagnol,  et  mise  en  Frang.  par  Fr. 
de  Vernassal,  Guil.  Landre  et  Gabr.  Chappuys. 

Paris  et  Lyon.  1572,  et  suiv.  8vo.  4  volumes.  Also,  Lyon. 
Rigaud.    1618.    16mo.    4  volumes. 

Lodovico  Dolce  wrote  an  epic  of  thirty-nine  cantos  on  the 
story  of  Primaleone. 

Anthony  Munday,  in  1589,  translated  the  first  part  of  the 
romance,  which  relates  the  adventures  of  Polendos,  half  brother 
of  Primaleon,  and  dedicated  it,  in  some  Latin  verses,  to  Sir 
Francis  Drake. 

The  continuation  of  the  romance  deals  with  the  exploits  of 
Primaleon  and  of  Duardos  (Edward)  of  England. 

Primaleon,  1619,  contains  the  most  beautiful  lyric  of  the 
Shepheard  Tonie,  of  England* s  Helicon,  from  which  it  is  con- 
cluded that  the  famous  shepherd  was  no  other  than  Anthony 
Munday. 

To  Colin  Clout 
Beautie  sat  bathing  by  a  spring, 
Where  fairest  shades  did  hide  her; 
The  windes  blew  calme,  the  birds  did  sing, 
The  coole  streames  ranne  beside  her. 
My  wanton  thoughts  entic'd  mine  eye. 
To  see  what  was  forbidden: 
But  better  memory  said,  fie. 
So  vaine  desire  was  chidden. 

Hey,  nonnie,  nonnie,  &c. 

Into  a  slumber  then  I  fell. 

When  fond  Imagination 

Seemed  to  see,  but  could  not  tell. 

Her  features  or  her  fashion. 

But  even  as  babes  in  dreames  doe  smile. 

And  sometimes  fall  a-weeping, 

So  I  awak't,  as  wise  this  while. 

As  when  I  fell  a-sleeping. 

Hey,  nonnie,  nonnie,  &c. 

Finis.    Shepheard  Tonie. 


ROMANCES  IN  PROSE 


65 


42 

1596.  "  But  the  Cent  Hisioires  Tragiques  of  Belief orest  him- 
self, appear  to  have  been  translated  soon  afterwards.  [Sta- 
tioners* Register,  C.  1596.]"  (Warton,  History  of  English 
Poetry,  lx.) 

I  have  found  no  evidence  of  this,  or  of  any  other  complete 
English  translation  of  Belleforest.  Possibly  Warton  confused 
Belleforest  with  Silvain.  There  is  entered,  in  Register,  C,  to 
Adam  Islip,  July  15,  1596,  — 

"Epitomes  De  Cent  hisioires  Tragicques  partie  extr aides  des 
Actes  des  Romains  et  Autres  &c.  Per  Alexandre  Sylvain.  To 
be  translated  into  Englishe  and  printed." 

Anthony  Munday  translated  this  collection  as  The  Orator. 
1596. 

43 

1596.  A  Margarite  of  America. 

Printed  for  J.  Busbie.  [London.]  1596.  4to.  Black  letter. 
British  Museum  (2  copies).  Bodleian.  London.  1859.  4to. 
J.  O.  Halliwell.  Privately  printed.  British  Museum.  Glasgow. 
1878-82.    Hunterian  Club. 

Dedicated,  "To  the  noble,  learned,  and  vertuous  Ladie,  the 
Ladie  Russell,"  "our  English  Sappho." 

A  Margarite  of  America  is  an  Arcadian  romance,  professing 
to  be  the  translation  of  a  Spanish  history  which  Lodge  discov- 
ered in  the  Jesuits'  Library  at  Santos,  Brazil.  It  was  written, 
he  tells  us,  "at  sea  four  years  before  (1592)  with  M.  Cavendish, 
in  passing  through  the  Straits  of  Magellan."  The  tale  is  a  tragi- 
cal narrative  of  the  love  of  Arsadachas,  son  and  heir  to  the 
Emperor  of  Cusco,  and  Margarita,  whose  father  was  King  of 
Muscovy. 

Many  sonnets  and  metrical  pieces  are  interspersed,  among 
them  two  pietate  full  of  color  and  grace,  copied  from  the  Italian 
poet  Lodovico  Dolce,  — 

a.  If  so  those  flames  I  vent  when  as  I  sigh. 

6.  O  desarts,  be  you  peopled  by  my  plaints. 


66  ELIZABETHAN  TRANSLATIONS 


A  sonnet  of  "that  excellent  poet  of  Italie  Lodovico  Pascale" 
is  introduced,  and  another,  — 

0  chiuse  valliy  o  ricche  piagge  apriche, 

"in  imitation  of  Martelli,  having  the  right  nature  of  an  Italian 
melancholic, '*  is  reprinted  in  England's  Helicon,  1600.  It  is 
The  Solitary  Shepherd's  Song,  — 

O  shadie  vales,  O  fair  enriched  meades. 

One  poem 

With  Ganymede  now  joins  the  shining  sun,  — 

is  the  earliest  known  example  in  English  of  a  sestina.  In  the 
length  of  the  lines,  and  in  the  arrangement  of  the  tornada. 
Lodge  follows  Dante's  improvement  of  the  original  form  of 
the  sestina  as  invented  by  the  Provengal  poet,  Arnaut  Daniel. 
This  form,  six  six-line  stanzas,  without  rimes,  each  stanza 
taking  up  the  last  word  of  the  preceding  one,  is  very  rare  even 
in  early  Italian  poetry. 

1597.  The  Queene  of  Nauarres  Tales.  Containing  Verie  pleas- 
ant Discourses  of  fortunate  Louers,  Now  newly  translated  out  of 
French  into  English, 

London.  Printed  by  V.  S.  for  John  Oxenbridge,  and  are  to 
be  solde  at  his  shop  in  Panics  Churchyard,  at  the  signe  of  the 
Parot.    1597.    4to.  Bodleian. 

This  is  merely  a  selection  of  fifteen  tales  from  the  Hep- 
tameron,  with  two  additional  tales. 

I  find  also  in  Register,  C,  a  license  to  Felix  Norton,  dated 
Sept.  1,  1600.  The  Queene  of  Nauarres  Tales  conteyning  very 
pleasant  Discourses  of  fortunate  louers. 

The  Queene  of  Nauarres  Tales.  1597. 

1.  The  Woman  of  Alancon.    Day  1,  Nov.  1. 

2.  The  chast  Death  of  the  Muliteer's  Wife.  Day  1,  Nov.  2. 


ROMANCES  IN  PROSE 


67 


Painter,  Palace  of  Pleasure,  i,  50.  Historic,  1530.  The 
muleteer  served  Queen  Margaret. 

3.  The  King  of  Naples.  Day  1,  Nov.  3.  Bandello,  rv,  10. 
Painter,  Palace  of  Pleasure,  i,  51. 

4.  The  Gentleman  and  the  Princess  of  Flanders.  Day  1, 
Nov.  4.  Painter,  Palace  of  Pleasure,  i,  52.  Historic, 
about  1520-25.  The  Queen  of  Navarre  was  the  heroine. 

5.  The  Waterman^ s  Wife.    Day  1,  Nov.  5. 

6.  The  Subtle  Wife.    Day  1,  Nov.  6. 

7.  The  Mar  chant  of  Paris.    Day  1,  Nov.  7. 

8.  The  Married  Man  that  made  himself  a  Cuckold.  Day  1, 
Nov.  8. 

9.  The  Amorous  Gentleman.  Day  1,  Nov.  9.  Painter, 
Palace  of  Pleasure,  i.  60. 

The  story  of  the  troubadour,  Geoffroi  Rudel  de  Blaye, 
who  loved  the  Countess  of  Tripoli  upon  hearsay  only. 

10.  The  Duke  of  Florence.  Day  2,  Nov.  2.  Painter,  Pal- 
ace  of  Pleasure,  i,  54. 

Story  of  the  murder  of  Alessandro  de'  Medici  by  his 
cousin,  Lorenzino  de'  Medici,  1537. 

11.  The  Seigneur  de  Bonnivet  and  the  Gentlewoman  of  Milan. 
Day  2,  Nov.  4. 

12.  The  Lady  disdained  by  her  Husband.  Day  2,  Nov.  5. 

13.  Gentlewoman  of  Milan.    Day  2,  Nov.  6. 

14.  The  Country-man  s  Wife  and  Curate.  Day  3,  Nov.  9. 

15.  The  Fragilitie  of  Man.  Day  3,  Nov.  10.  Bandello,  ii,  35. 
Source  of  Horace  Walpole's  tragedy.  The  Mysterious 
Mother.    1768.  8vo. 

16.  The  Merry  Conceited  Bricklayer. 

This  story  is  only  in  part  engrafted  upon  one  in  the 
Heptameron. 

17.  Mahomet  and  Hyerene. 

The  seventeenth  story  is  not  in  the  Heptameron,  but  is  from 
Bandello,  i,  10,  and  had  already  been  translated  by  William 
Painter,  Palace  of  Pleasure,  i,  40.  It  is  the  subject  of  three 
English  plays,  — 


68  ELIZABETHAN  TRANSLATIONS 


1.  A  lost  play  by  George  Peele,  The  Turkish  Mahomet  and 
Hiren  the  Fair  Greek,  supposed  to  be  the  Mahomet  of 
Henslowe's  Diary,  August  14,  1594. 

2.  Osmund  the  Great  Turk,  or  The  Noble  Servant.  Lodowick 
Carlell.    1657.  Svo. 

3.  The  Unhappy  Fair  Irene.    Gilbert  Swinhoe.    1658.  4to. 

45 

Heptameron;  or,  the  History  of  the  Fortunate  Lovers:  written 
by  the  most  Excellent  and  Virtuous  Princess,  Margaret  de  Valoys, 
Queen  of  Navarre.  Published  in  French  by  the  Privilege  and  Im- 
mediate Approbation  of  the  King;  Now  made  English  by  Robert 
Codrington,  Master  of  Arts. 

London,  printed  by  F.  L.  for  Nath.  Ekins,  and  are  to  be  sold 
at  his  shop  at  the  Gun,  by  the  West-End  of  St.  Pauls.  1654. 
Svo.    528  pp.    Also,  1685,  4to. 

Dedicated,  "To  the  truly  Honourable,  the  true  Louer  of  all 
good  Learning,  Thomas  Stanley  Esquire,"  &c . 

The  first  edition  of  Queen  Margaret's  tales  is  entitled.  His- 
toire  des  Amans  fortunez  dediSe  a  tres-illustre  princesse  madame 
Marguerite  de  Bourbon,  duchesse  de  Nivernois,  par  Pierre  Boaist- 
uau  dit  Launay. 

Paris.    G.  Gilles.  1558. 

This  rare  edition  contains  sixty-seven  novels  only,  which  are 
neither  arranged  in  their  proper  order,  nor  divided  into  Days. 
In  the  following  year  Claude  Gruget  published  the  second  edi- 
tion, called 

L'Heptameron  des  Nouvelles  de  tres-illustre  et  tres-excellente 
princesse  Marguerite  de  Valois,  royne  de  Nauarre,  remis  en  son 
vray  ordre,  confus  auparavant  en  sa  premiere  impression,  dediee  d> 
tres-illustre  et  tres-virtuense  princesse  Jeanne  [de  Foix  (d 'Al- 
bert)], royne  de  Nauarre,  par  Claude  Gruget,  Parisien. 

Paris.    Benoit  Prevost.  1559. 

L'Heptameron  des  Nouvelles  de  tres-haute  et  tres-illustre  prin- 
cesse Marguerite  d*Angouleme,  reine  de  Navarre,  soeur  unique 
de  Frangois  1*^ .    1853.    3  vols.  8vo. 


ROMANCES  IN  PROSE 


69 


Edited,  from  MSS.  in  the  National  Library  of  France,  for  the 
Societe  des  Bibliophiles  Frangais,  by  their  secretary,  M.  Le  Roux 
de  Lincy.  This  is  the  first  complete  edition  of  UHeptameron, 
M.  Le  Roux  de  Lincy  having  restored  the  suppressed  novels, 
XI,  XLiv,  and  xlvi,  and  all  those  passages  which  had  fallen 
under  the  ban  of  the  Index  Expurgatorius. 

The  Heptameron:  or  Tales  and  Novels  of  Marguerite,  Queen  of 
Navarre.  Now  first  completely  done  into  English  prose  and 
verse  from  the  original  French,  by  Arthur  Machen. 

London,  privately  printed  (about  1880),  8vo;  also,  London, 
George  Routledge  &  Sons,  1905,  8vo. 

Mr.  Machen  has  translated  the  text  of  the  Bibliophiles  Fran- 
gaisy  except  that  he  gives  Novels  xliv  and  xlvi  in  duplicate. 
Here  he  follows  M.  Paul  Lacroix's  edition  of  1858,  which  in- 
cluded the  three  Novels,  xi,  xliv,  and  xlvi,  which  Claude 
Gruget  substituted  for  those  he  suppressed  in  UHeptameron  of 
1559.  For  the  first  time  in  English  Mr.  Machen  has  translated 
the  whole  of  the  Heptameron^  including  the  poetical  pieces  in- 
terspersed and  the  curious  arguments  by  way  of  epilogue  to 
each  tale. 

The  Fortunate  Lovers.  Twenty  Seven  Novels  of  the  Queen 
of  Navarre.  Translated  from  the  original  French  by  Ar- 
thur Machen,  with  etched  frontispiece.    1887.    8vo.  312  pp. 

Edited  and  selected  from  the  Heptameron  with  Note,  Pedi- 
grees, and  Introductions,  by  Mary  F.  Robinson. 

Heptameron  {The)  of  the  Tales  of  Margaret,  Queen  of  Navarre. 
Newly  translated  into  English  from  the  authentic  text  of  M. 
Le  Roux  de  Lincy.  With  an  essay  upon  the  Heptameron  by 
George  Saintsbury,  M.  A.  Also  the  original  73  full-page  en- 
gravings designed  by  S.  Freudenberg,  and  150  head  and  tail 
pieces  by  Dunker. 

London,  printed  for  the  Society  of  English  Bibliophilists, 
1894.  5  vols.  8vo. 

Queen  Marguerite  intended  her  collection  to  be  a  *  Decam- 
eron,' or  ten  days'  entertainment,  as  the  title  of  the  MSS.  show, 
but  she  lived  to  complete  seven  decades  only  with  two  tales  of 


70  ELIZABETHAN  TRANSLATIONS 


the  eighth.  Gruget  first  pubhshed  all  the  tales,  made  the  divi- 
sion into  days,  and  called  the  work  as  far  as  it  went  the  Hep- 
tameron.  But  in  place  of  Novels  xi,  xliv,  and  xlvi,  Gruget 
substituted  three  others,  written  it  has  been  conjectured  by 
himself. 

Codrington  followed  Gruget's  text,  which  was  the  authorita- 
tive one  for  the  sixteenth  and  seventeenth  centuries.  The  fact 
that  he  omits  all  the  poetical  pieces  and  all  the  arguments  to 
each  day's  entertainment  may  mean  that  these  had  dropped 
out  of  the  particular  French  version  he  used. 

The  Heptameron  is  a  collection  of  tales  told  by  a  company  of 
five  ladies  and  five  gentlemen,  who,  being  stopped  on  their  way 
home  from  the  baths  of  Cauterets  by  the  rising  of  the  river 
Gave  in  Bearn,  take  refuge  in  the  abbey  of  Our  Lady  of  Ser- 
rance.  Of  the  ten  story-tellers,  Hircan  and  Parlamente  are  hus- 
band and  wife;  Simontault  is  Parlamente's  lover;  Geburon  is  a 
friend  of  Hircan;  Dagoucin  and  Saffredent  are  two  gallants; 
Ennasuitte  and  Nomerfide  are  two  young  ladies;  Longarine  is  a 
young  widow;  Oisille  is  an  elderly  widow  who  chaperons  the 
party.  The  French  editors  made  some  interesting  and  curious 
conjectures  in  the  effort  to  identify  these  personages  among  the 
friends  and  in  the  household  of  Queen  Marguerite. 

Of  the  Heptameron,  or  the  History  of  the  Fortunate  LoverSy 
1654,  twenty-five  tales  had  already  been  translated  in  The  Pal- 
ace of  Pleasure,  Besides  the  fifteen  of  The  Queene  of  Navarres 
Tales,  — 

Day  I,  Novel  x,  is  Painter,  i,  53,  Amadour  and  Florida. 
Day  II,  Novel  vii,  is  Painter,  i,  55,  Francis  I  and  Count  Wil- 
liam. 

Day  II,  Novel  ix.  La  Parfaicte  Amour,  is  Boccaccio's  story  of 
Girolamo  and  Salvestra,  Decameron,  iv,  2.  Straparola  treated 
the  theme  in  his  Rodolino  and  Violante.    Notti,  ix,  2. 

Day  III,  Novel  i,  is  Painter,  i,  62,  Rolandine  the  Chaste. 
Rolandine  was  Anne  de  Rohan,  who,  in  1517,  at  the  age 
of  36,  married  her  cousin,  Sieur  de  Rohan,  Siegneur  de  Fon- 
tenay. 


ROMANCES  IN  PROSE 


71 


Day  III,  Novel  vi,  is  Painter,  i,  56,  The  Lady  of  Pampeluna, 
This  tale  is  historic,  of  the  time  of  Louis  XII. 

Day  IV,  Novel  ii,  Punition  plus  rigoreuse  que  la  mort  d*un 
mary  enuers  sa  femme  adulter e^  is  Painter,  i,  57.  Part  of  the 
wife's  punishment  is  historic  in  the  tragical  story  of  Rosamund, 
Queen  of  the  Gepidae.  (Gibbon,  The  Decline  and  Fall  of  the 
Roman  Empire,  Vol.  iv,  Chap,  xlv,  pp.  390-399.  Milman's  ed.) 
Machiavelli.  Istorie  Fiorentine,  Libro  i.  Bandello,  iii,  18. 
Belleforest,  iv,  19.  After  Painter,  two  other  Elizabethan  story- 
tellers translated  the  tale,  —  Turberville,  in  his  Tragicall  Tales, 
No.  5  (1576),  and  Whetstone,  in  An  Heptameron  of  Civil  Dis- 
courses.   Third  Day  (1582). 

Rosamund's  story  has  been  dramatized  three  times  in  Eng- 
lish:— 

Albovine,  King  of  the  Lombards.  1629.  4to.  Sir  William 
Davenant. 

The  Witch.  Printed.  1788.  8vo.  Thomas  Middleton. 

Rosamund,  Queen  of  the  Lombards:  A  Tragedy.  1899.  Alger- 
non Charles  Swinburne. 

Day  IV,  Novel  vi,  is  Painter,  i,  58,  The  President  of  Grenoble. 

Bandello  tells  this  story.  It  furnished  the  plot  for  the  trag- 
edy,— 

Love's  Cruelty.    1640.    4to.    James  Shirley. 

Day  IV,  Novel  vii,  is  Painter,  i,  63.  The  Prudent  Lady. 

Day  IV,  Novel  viii,  is  Painter,  i,  64.  The  Lady  of  Tours. 

This  is  UHistoire  de  la  dame  de  Langalier,  of  the  Chevalier  de 
La  Tour-Landry. 

Day  VI,  Novel  viii,  is  Painter,  i,  61.  A  Lady  of  the  French 
Court. 

Queen  Margaret  is  supposed  to  be  the  lady  who  played  the 
practical  joke  here  related. 

Day  VII,  Novel  v,  is  Painter,  i,  65.  The  Miracle  at  Lyons. 

Day  VIII,  Novel  i,  was  translated  by  Whetstone  in  his  An 
Heptameron  of  Civil  Discourses.    First  Day. 

Day  VIII,  Novel  ii.  The  motive  of  this  story,  the  betrayal  of 
women  under  cloak  of  religion,  was  a  common  theme  with  the 


72  ELIZABETHAN  TRANSLATIONS 


Italian  novelists.  Compare,  the  Decameron^  iv,  2,  and  viii,  4, 
and  Bandello,  iii,  19. 

46 

1597.  A  Famous  tmgicall  discourse  of  two  lovers,  African 
and  Mensola,  their  lives,  unfortunate  loves,  and  lamentable  deaths, 
to-gether  with  the  of-spring  of  the  Florentines.  A  History  no  lesse 
pleasant  then  full  of  recreation  and  delight.  Newly  translated  out 
of  Tuscan  into  French,  by  Anthony  Guerin,  domino  Creste.  And 
out  of  French  into  English  by  Jo.  Goubourne. 

At  London.  Printed  by  Ja.  R.  for  William  Blackman,  dwell- 
ing neere  the  great  North  doore  of  Paules.  1597.  4to.  Black 
letter.    44  leaves. 

At  the  end  of  this  romance  is  printed,  "Thus  endeth  Maister 
John  Bocace  to  his  Flossolan.    Data  fata  secutus.'' 

This  romance  is  a  translation,  first  into  French  prose,  and 
from  that  into  English  prose,  of  Boccaccio's  beautiful  love- 
story  in  verse,  Ninfale  Fiesolano  ossia  Vinnamoramento  di  Af- 
frico  e  Mensola;  Affrico  is  a  shepherd  and  Mensola  a  nymph. 

"  On  either  side  of  [the  parish]  of  Majano  were  laid  the  two 
scenes  of  \he  Decameron  of  Boccaccio;  the  little  streams  that 
embrace  it,  the  Affrico  and  the  Mensola,  were  the  metamor- 
phosed lovers  in  his  Ninphale  Fiesolano;  within  view  was  his 
Villa  Gherardi,  before  the  village  the  hills  of  Fiesole,  and  at  its 
feet  the  Valley  of  the  Ladies.  Every  spot  around  was  an  illus- 
trious memory.  To  the  left,  the  house  of  Machiavelli;  still  fur- 
ther in  that  direction,  nestling  amid  the  blue  hills,  the  white 
village  of  Settignano,  where  Michelangelo  was  born;  on  the 
banks  of  the  neighboring  Mugnone,  the  house  of  Dante;  and  in 
the  background,  Galileo's  villa  of  Arcetri  and  the  palaces  and 
cathedral  of  Florence.  In  the  centre  of  this  noble  landscape, 
forming  part  of  the  village  of  S.  Domenica  di  Fiesole,  stood  the 
villa  which  had  now  become  Landor's.  The  Valley  of  the 
Ladies  was  in  his  grounds;  the  Affrico  and  Mensola  ran  through 
them;  above  was  the  ivy-clad  convent  of  the  Doccia  overhung 
with  cypress;  and  from  his  entrance  gate  might  be  seen  Val- 


ROMANCES  IN  PROSE 


73 


darno  and  Vallombrosa.'*  (John  Forster,  Walter  Savage  Lan- 
dor,  A  Biography.  1869.  223-24  pp.) 

47 

1597.  The  Theatre  of  Gods  Judgements:  Or,  A  Collection  of 
Histories  out  of  Sacred,  Ecclesiastically  and  Prophane  Authours, 
concerning  the  admirable  Judgements  of  God  upon  the  transgres- 
sours  of  his  commandements.  Translated  out  of  French,  and 
augmented  by  more  than  three  hundred  Examples,  by  T.  Beard. 

London.  Printed  by  Adam  Islip.  1597.  8vo.  British  Mu- 
seum. 472  pp. 
Dedicated  to  Sir  Edward  Wingfield. 

Also,  1612.  8vo.  British  Museum.  1631.  4to.  British 
Museum.    Revised  and  augmented,  from  p.  542  to  end. 

Dedicated  to  the  Mayor  and  Corporation  of  Huntingdon. 
1648.  Folio.  With  additions.  2  pts.  Part  ii,  by  T.  Taylor,  is 
dated  1642. 

This  collection  of  histories  is  noteworthy,  because  it  con- 
tains {Lib.  I,  Chap,  xxiii)  *  An  account  of  Christopher  Marlowe 
and  his  tragical  end,'  written  by  a  man  who  was  Cromwell's 
schoolmaster. 

The  edition  of  1612  contains  the  story  of  Measure  for 
Measure. 

In  Chapter  xxii  there  is  a  short  translation,  the  fourth  one 
that  is  known,  of  Bandello's  Duchess  of  Malfi,  i,  26. 

The  plot  of  Sir  Ralph  Freeman's  tragedy  Imperiale,  1640, 
12mo,  is  one  of  Beard's  *  histories.' 

48 

1598.  Diana  of  George  of  Montemayor,  translated  out  of  Span- 
ish into  English  by  Bartholomew  Yong,  of  the  Middle  Temple, 
Gentleman.  [With  a  second  Part  by  Alonzo  Perez,  and  also  a 
continuation  entitled.  Enamoured  Diana,  by  Caspar  Gil  Polo, 
both  included  in  Young's  translation.] 

At  London.  Printed  by  Edw.  Bollifant.  Impensis  G.  B. 
1598.    Folio.    248  leaves.    British  Museum  (2  copies). 


74  ELIZABETHAN  TRANSLATIONS 


Diantty  translated  from  Jorge  de  Montemor's  Diana  {Val- 
encia.   1542.  4to). 

Dedicated,  "To  the  right  honourable  and  my  very  good 
Lady,  the  Lady  Rich."  Lady  Rich  was  Penelope  Devereux, 
sister  to  the  Earl  of  Essex.  She  was  Sir  Philip  Sidney's  *  Stella.' 
After  being  divorced  from  Lord  Rich,  she  married  Charles 
Blount,  Earl  of  Devonshire. 

One  romance  of  this  Spanish  collection  (1542),  the  tale  of  the 
shepherdess,  Felismena,  is  the  probable  source  of  Shakspere's 
The  Two  Gentlemen  of  Verona. 

The  History  of  Felix  and  Philomena  (Felismena)  was  played 
before  the  Court  at  Greenwich,  January  3,  1585.  Shakspere 
is  supposed  to  have  taken  the  story  from  the  old  play. 

For  proof  that  Shakspere  used  the  Diana,  either  in  Young's 
manuscript,  or  in  some  other  form,  see  especially  p.  55  of 
Young's  printed  translation.  Dictionary  of  National  Biog- 
raphy. 

The  Story  of  the  Shepherdess  Felismena  .  .  .  from  Book  ii,  of 
the  Diana  of  G.  de  Montemayor,  translated  by  B.  Young.  J.  P. 
Collier.    Shakepeare^s  Library.    [1843.]    8vo.    Vol.  ii. 

Diana  is  interspersed  with  poetry,  a  good  deal  of  which, 
twenty-four  pieces,  is  reprinted  in  England's  Helicon,  1600. 
Portions  of  this  work  were  rendered  into  English  verse  by  Sir 
Philip  Sidney,  and  are  included  among  his  poems  at  the  end  of 
the  Arcadia. 

Numbers  xxi  and  xxii  of  Pansies  from  Penshurst  and  Wilton 
(Grosart's  title)  are  translations  of  the  second  and  third  pieces 
of  verse  in  it.  Grosart  took  them  from  The  Lady  of  the  May  — 
A  Masque.  1578. 

49 

Diana  de  Montemayor  done  out  of  Spanish  by  Thomas  Wilson 
Esquire,  In  the  yeare  1596  and  dedicated  to  the  Erie  of  Southamp- 
ton who  was  then  uppon  the  Spanish  voiage  with  my  lord  of  Essex: 
Wherein  under  the  names  and  vailes  of  Sheppards  and  theire  Lon- 
ers are  couertly  discoursed  manie  noble  actions  and  affections  of 


ROMANCES  IN  PROSE 


75 


the  Spanish  nation,  as  is  of  the  English  of  that  admirable  and 
never  enough  praised  booke  of  Sir  Phil:  Sidney es  Arcadia. 

The  prefatory  letter  is  headed,  *'To  the  right  honorable  Sir 
Fulke  Grevyll  Knight  Privie  Councellor  to  his  Maiesty  and 
Chancellor  of  the  Exchequer  [afterwards  Lord  Brooke]  my 
most  honorable  and  truly  worthy  to  be  honored  frend."  Wilson 
remarks  that  Brooke's  friend,  Sir  Philip  Sidney,  "did  much 
affect  and  imitate  Diana.'* 

This  is  a  translation,  in  manuscript,  by  Thomas  Wilson,  of 
the  first  Book  of  the  Diana  of  Jorge  de  Montemor.  It  belongs 
to  a  more  complete  translation  of  the  romance,  which  had 
been  made  by  him  in  1596,  and  had  been  dedicated  to  Henry 
Wriothesly,  3d  Earl  of  Southampton,  "then  upon  the  Span- 
ish voiage  with  my  Lord  of  Essex."  It  was  copied  out  by 
the  translator  himself,  and  presented,  together  with  the  pref- 
atory letter,  to  Sir  Fulke  Greville,  Chancellor  of  the  Exchequer 
(created  Lord  Brooke  in  1621),  about  the  year  1617.  Additional 
MS.  British  Museum.  18638. 

Catalogue  of  Romances  in  the  Department  of  Manuscripts  of 
the  British  Museum.    By  H.  L.  D.  Ward.  1883. 

50 

1598.  The  Honour  of  Chiualrie,  Set  downe  in  the  most  Famous 
Historie  of  the  Magnanimious  and  Heroike  Prince  Don  Bellianis: 
Sonne  unto  the  Emperour  Don  Bellaneo  of  Greece.  Wherein  are 
described,  the  straunge  and  dangerous  Adventures  that  him  befell. 
With  his  hue  towards  the  Princesse  Florisbella:  Daughter  unto  the 
Souldan  of  Babylon.  Englished  out  of  Italian  by  L.  A.  Sed  tamen 
est  tristissima  ianua  nostrae,  Et  labor  est  unus  tempora  prima 
pati. 

London.  Printed  by  Thomas  Creede.  1598.  4to.  Black 
letter.  1650.  4to.  Black  letter.  Also,  1673,  4to,  black  letter 
(Kirkman),  and  1683,  4to,  black  letter,  and  1703,  4to  (J.  Shur- 
ley  or  Shirley). 

Dedicated,  "To  the  right  Worshipful,  his  speciall  Patron, 


76  ELIZABETHAN  TRANSLATIONS 


Maister  John  Rotherham,  Esquire,  one  of  the  sixe  Clarkes  of 
her  Maiesties  most  Honourable  Court  of  Chauncery." 

Henry  Huth  owned  the  only  copy  known. 

Don  Belianis  de  Grecia  was  one  of  the  continuations  of  the 
famous  romance  Amadis  of  Gaul.  It  appeared  first  in  Spanish, 
in  1547,  and  was  written  by  Jeronimo  Fernandez.  In  1586 
an  Italian  version  was  made;  in  1598  it  was  translated  into 
English,  and  in  1625  into  French.  Don  Belianis,  according  to 
his  veracious  historian,  Cid  Hamet  Benengeli,  was  one  of  the 
books  of  knight-errantry  for  which  Don  Quixote  sold  his  acres 
of  arable  land. 

"In  the  divels  name  do  not  so,  gentle  gossip  (reply ed  the 
Barber),  for  this  which  I  hold  now  in  my  hand,  is  the  famous 
Don  Bellianis.  What,  he?  quoth  the  Curate,  the  second,  third, 
and  fourth  part  thereof  have  great  neede  of  some  Ruybarbe  to 
purge  his  excessive  choler,  and  we  must  moreover  take  out  of 
him  all  that  of  the  Castell  of  Fame,  and  other  impertinencies  of 
more  consequence.  Therefore  wee  give  them  a  terminus  Ul- 
tramarinus,  and  as  they  shall  be  corrected,  so  will  we  use  mercy 
or  justice  towards  them:  and  in  the  meane  space,  gossip,  you 
may  keepe  them  at  your  house,  but  permit  no  man  to  read 
them." 

The  History  of  Don  Quixote  of  the  Mancha.  Translated  from 
the  Spanish  of  Miguel  de  Cervantes  by  Thomas  Shelton.  Annis 
1612,  1620.    With  Introduction  by  James  Fitzmaurice-Kelly. 

London.  D.  Nutt.  1896.  Tudor  Translations,  xiii,  Book  i. 
Chapter  vi. 

51 

1599.  The  Fountaine  of  Ancient  Fiction.  Wherein  is  lively 
depictured  the  Images  and  Statues  of  the  Gods  of  the  Ancients; 
with  their  proper  and  perticular  expositions.  Done  out  of  Ital- 
ian [of  Vincenzo  Cartari]  into  Englishe,  by  Richard  Linche, 
Gent.  Tempo  e  figliuola  di  verita. 

London.  Printed  by  Adam  Islip.  1599.  4to.  100  leaves. 
British  Museum  (2  copies). 


ROMANCES  IN  PROSE 


77 


Dedicated,  "to  the  right  vertuous  and  well-disposed  gentle- 
man, M.  Peter  Davison,  Esquiere,  Richard  Linche  wisheth  all 
affluence  of  worldly  prosperities,  and  the  fruition  of  all  celes- 
tiall  graces  hereafter." 

"This  book,  or  one  of  the  same  sort,  is  censured  in  a  puri- 
tanical pamphlet,  written  in  the  same  year,  by  one  H.  G.,  *  a 
painful  minister  of  God*s  word  in  Kent,'  as  the  *Spawne  of 
Italian  Gallimaufry,'  as  'tending  to  corrupt  the  pure  and  un- 
idolatrous  worship  of  the  one  God,  and  as  one  of  the  deadly 
snares  of  popish  deception.'"  (Warton,  History  of  English 
Poetry,  lx.) 

"The  images,  statues,  and  pictures  of  the  gods  of  the  aun- 
cients,  with  their  severall  expositions"  gives  an  account  of  the 
estimation  of  images  in  different  classical  countries,  and  some 
of  the  authors  cited  are  Tacitus,  Pliny,  Homer,  Ovid,  and 
Claudian. 

First  comes  a  description  of  eternity,  in  eight  octave  stanzas, 
"not  much  unlike  that  reported  by  Claudianus,  which  wee  will 
endeavour  (though  not  in  his  right  colours)  thus  to  compose." 

Then  follow  the  four  seasons  from  Ovid,  in  eight  lines,  and 
Neptune's  speech  from  Homer,  in  seven. 

Three  ten-line  stanzas  tell  the  story  of  Apollo  and  his  sisters, 
"which  Claudianus  reporteth  to  bee  so  curiously  wrought  in  an 
upper  garment  which  belonged  to  Proserpina.  And  although 
in  the  Italian  it  carrieth  a  f  arre  more  pleasing  grace  than  in  the 
English,  yet  finding  it  there  set  downe  in  verse,  I  thought  it  not 
irrequisite  so  to  discover  it." 

Diana's  Nymphs  are  described  in  eight  six-line  stanzas,  of 
which  I  quote  one:  — 

Some  have  their  haire  dishevel'd  hanging  downe, 
Like  to  the  sun's  small  streames,  or  new  gold  wires; 
Some  on  their  heade  doe  weare  a  jflowry  crowne, 
Gracing  the  same  with  many  curious  tires; 
But  in  their  hot  pursute  they  loose  such  graces. 
Which  makes  more  beau  tie  beautifie  their  faces. 

A  similar  stanza  describes  Diana's  chariot,  "drawn  by  two 


78  ELIZABETHAN  TRANSLATIONS 


white  hinds,  as  Claudianus  likewise  affirmeth,"  another  gives 
Ovid's  description  of  Hecate,  while  it  takes  three  six-line 
stanzas  to  describe  Pan,  "whose  shape  Silvius  Italicus  setteth 
forth";  finally,  in  one  of  Linche's  six-line  stanzas,  "Statins 
depictureth  the  floud  Inachus,  which  passeth  through  the  con- 
tinent of  Greece." 

Echo,  "oftentimes  disuaded  and  reprehended  him  whosoever 
will  undertake  to  depicture  her,  and  Ausonius  repeats  it  in  an 
epigram,  whose  sence  is  thus  reduced  to  a  sonnet." 

Surcease,  thou  medling  artist,  thy  endevour, 
Who  for  thy  skill  hast  reapt  such  long-liv'd  fame. 
Strive  not  to  paint  my  bodie's  shape,  for  never 
Did  any  human  eies  behold  the  same: 
In  concave  cavernes  of  ike  earth  I  dwell, 
Daughter  of  th'  aire,  and  of  ech  tatling  voice; 
In  woods  and  hollow  dales  I  build  my  cell. 
Joying  to  re-report  the  least  heard  noice, 
To  greefe-opprest,  and  men  disconsolate. 
That  tell  ech  groue  their  soule's  vexation. 
Their  dying  agonies  I  aggravate 
By  their  plaints  accents  iteration, 
And  he  that  will  describe  my  forme  aright. 
Must  shape  a  formlesse  sound  or  airie  spright. 

"  Auster  or  Natus,  predominating  the  southerne  region  of  the 
aire,  and  because  commonly  proceed  from  his  blasts  darke 
showers  and  stormy  tempests,  is  thus  or  to  the  like  effect  de- 
scribed." 

Tibullus's  description  of  Peace  gets  ten  lines,  but  it  takes 
four  poetical  selections  to  do  justice  to  Fortune,  for  "shee  is 
humorous,  and  must  be  pleased  by  submission  and  acknowl- 
edgment of  her  power  and  superioritie,  as  certaine  verses, 
much  to  the  same  effect,  doe  demonstrate  and  testify;  which 
Englished  are  these,  or  much  agreeing  with  the  true  meaning 
of  the  authour." 

Three  sonnets  tell  what,  "in  another  place  a  discontented 
person  railing  against  her  crueltie  sayth,"  and  seventeen  six- 
line  stanzas  describe  how  a  "discontented  lover  unbo welled  (as 
it  were)  and  anatomized  his  heart's  oppressions." 


ROMANCES  IN  PROSE 


79 


In  conclusion,  "the  same  lover  in  another  place  further  com- 
plaineth  of  the  overmuch  rigour  of  his  ladie,  preserving  and  con- 
tinuing in  hate  and  scorn  of  his  love :  which  words  reduced  to  a 
sonnet,  are  these,  or  to  the  like  effect."  {Censura  Literaria, 
Vol.  VI,  p.  135,  edition  of  1808.) 

The  Fountain  of  Ancient  Fiction  was  translated  from  Le 
Imaginiy  con  la  Spositione  de  i  Dei  degli  Antichi.  Raccolte  per 
V.  C.  [Vincenzo  Cartari.] 

Venetia.    1556.    4to.    British  Museum. 

It  was  a  very  popular  work.  The  British  Museum  lists  record 
eight,  out  of  twelve,  Italian  editions,  a  French  translation,  by 
Antoine  Du  Verdier  {Lion^  1581,  8vo),  a  German  one  (Franck- 
furty  1692,  4to),  and  three  Latin  versions. 

52 

1600.  The  Strange  Fortunes  of  Two  Excellent  Princes:  In  their 
Hues  and  loues,  to  their  equall  Ladies  in  all  the  titles  of  true  honour. 
[Nicholas  Breton.] 

Imprinted  at  London  by  P.  Short,  for  Nicholas  Ling.  1600. 
Sm.  4to.  Black  letter.  Bodleian,  only  copy  known.  1878. 
Sm.  4to.  A.  B.  Grosart,  in  The  Complete  Works  in  Prose  and 
Verse  of  Nicholas  Breton.  The  Chertsey  Worthies^  Library.  100 
copies  only.    Peabody  InstitutCy  Baltimore. 

Dedicated  to  '  John  Linewray,  Esquire,  clerk  of  the  deliuer- 
ies  and  deliuerance  of  all  her  Maiesties  ordenance.' 

A  story  from  the  Italian.    In  the  Bodleian  Library. 

Jusserand  describes  this  tale  as,  "  a  little  masterpiece,"  "  a 
bright  and  characteristic  little  book."  {The  English  Novel 
in  the  Time  of  Shakespeare,  p.  199  of  Elizabeth  Lee's  trans- 
lation.) 

53 

1604.  Pasquils  Jests,  mixed  with  Mother  Bunches  Merriments. 
Whereunto  is  added  a  doozen  of  Guiles,  Very  Prettie  and  pleasant, 
to  drive  away  the  tediousnesse  of  a  Winters  evening. 


80  ELIZABETHAN  TRANSLATIONS 


Imprinted  at  London  for  John  Browne,  and  are  to  be  sold 
at  his  shop  in  Saint  Dunstones  Church  yard  in  Fleet  Street. 
1604.  4to.  Black  letter.  24  leaves.  British  Museum.  1609. 
4to.  26  leaves.  1629.  4to.  Black  letter.  31  leaves.  Bodleian. 
n.  d.  4to.  Black  letter.  32  leaves.  1635.  4to.  30  leaves.  Cap- 
ell  Collection,  [c.  1650.]  4to.  Black  letter.  31  leaves.  British 
Museum.  1669.  4to.  Black  letter.  31  leaves.  Bodleian.  Re- 
printed in  Old  English  Jest-Boohs.  W.  Carew  Hazlitt. 
London.    1866.  12mo. 

Collier  says  there  were  editions  in  1608,  1612,  1625,  and 
1637,  none  of  which  were  known  to  Hazlitt,  who  says,  however, 
that  Dr.  Rimbault  seems  to  have  seen  that  of  1608. 

How  one  at  Kingston  J  ay  ned  himself e  dead,  to  trye  what  his  wife 
would  doe. 

Poggio,  Facetiae,  cxvi.  De  vivo  qui  suae  uxori  mortuum  se 
ostendit. 

How  madde  CoomeSy  when  his  wife  was  droumed,  sought  her 
against  the  streame. 

Poggio,  Facetiae,  lx.  De  eo  qui  uxorem  in  flumine  peremptam 
quaerebat.  No.  55,  of  Mery  Tales,  Wittie  Questions,  and  Quiche 
Answeres.  The  original  is  the  fabliau,  Le  Vilain  et  sa  Femme. 
Le  Grand,  Fabliaux  ou  Contes,  iii  (ed.  1829,  n.  181). 

Of  an  Her  met  by  Paris. 

Poggio,  Facetiae,  cxlii.  De  eremita  qui  multas  mulieres  in 
concubitu  habuit.  No.  40,  of  Mery  Tales,  Wittie  Questions,  and 
Quiche  Answeres. 

A  deceyt  of  the  hope  of  the  couetous  with  a  Turnep. 

A  popular  anecdote  related  here  of  "The  King  of  Fraunce, 
Charles  the  fift." 

Giraldi,  Gli  Hecatommithi,  vi,  9,  tells  the  story  of  Francesco 
Valesi,  primo  re  di  Francia  di  tal  nome;  and  Domenichi,  Facezie, 
Motti,  et  Burle,  di  Diuersi  Signori,  of  Lodonico  undecimo  re  di 
Francia.  Compare  Mery  Tales,  Wittie  Questions^  and  Quiche 
Answeres,  No.  23. 


ROMANCES  IN  PROSE 


81 


54 

1604.  Jack  of  Dover,  His  Quest  of  Inquirie,  or  His  Privy 
Search  for  the  Veriest  Foole  in  England. 

London.  Printed  for  William  Ferbrand,  and  are  to  be  sold 
in  Pope's  Head  Ally,  over  against  the  Taverne  doore,  neare  the 
Exchange.  1604.  4to.  Bodleian.  London.  1615.  4to.  Bod- 
leian. Edited,  1842,  for  the  Percy  Society.  Reprinted  in  Old 
English  Jest-Books,  by  W.  Carew  Hazlitt.  London.  1866. 
12mo. 

The  Foole  of  Lincolne. 

This  is  the  old  story  of  Socrates  and  Xanthippe,  made  fa- 
miliar to  English  readers  in  Mery  Tales,  Wittie  Questions,  and 
Quicke  Answer es  (c.  1535),  of  which  it  is  No.  49. 

The  Foole  of  Lancaster. 

No.  22,  of  Mery  Tales,  Wittie  Questions,  and  Quicke  Answeres 
(c.  1535). 

No.  21,  of  The  Pleasant  Conceites  of  Old  Hobson, 
The  Foole  of  Hampshire. 
No.  6,  of  A  C.  Mery  Talys. 

Jacke  of  Dover,  at  the  instance  of  a  "jury  of  pennilesse 
poets,"  sets  out  in  quest  of  the  Foole  of  all  Fooles;  failing  to  find 
him  in  thirty  of  the  principal  places  in  England,  it  is  adjudged 
that  one  of  the  poets  must  be  the  fool,  for  "there  cannot  be  a 
verier  foole  in  the  world  then  is  a  poet." 

55 

1607.  The  Antient,  True,  and  admirable  History  of  Patient 
Grisel,  a  Poore  Mans  Daughter  in  France.  Written  in  French, 
and  now  translated  into  English. 

[At  London.]  Printed  by  Edward  All-de.  1607.  4to.  16 
leaves. 

The  Ancient,  True  and  Admirable  History  of  Patient  Grisel, 
a  Poore  Mans  Daughter  in  France:  shewing  how  M aides,  by  her 
example,  in  their  good  behaviour  may  marrie  rich  Hosbands; 


82  ELIZABETHAN  TRANSLATIONS 


And  likewise  Wives  by  their  patience  and  obedience  may  gaine 
much  glorie.    Written  in  French, 

and 

Therefore  to  French  I  speake  and  give  direction, 
For,  English  Dames  will  live  in  no  subjection. 

But,  now  Translated  into  English, 

and 

Therefore,  say  not  so,  for  English  maids  and  wives 
Surpasse  the  French  in  goodnesse  of  their  lives. 

At  London.  Printed  by  H.  L.  for  William  Lugger;  and  are 
to  be  sold  at  his  shop  in  Bedlem,  neere  Moore-Fields.  1619. 
4to.  Black  letter.  16  leaves.  British  Museum.  1674.  4to. 
Bodleian.  Printed  for  the  Percy  Society.  1842.  J.  P. 
Collier. 

A  quarto  tract,  in  ten  chapters,  prose.    Decameron,  x,  10. 

Licensed  to  T.  Colwell,  in  1565,  as  The  History  of  meke  and 
pacyent  Gresell,  but  the  impression  of  1607  is  the  earliest  one 
now  known. 

A  ballet  intituled  the  songe  of  pacyent  Gressell  unto  her  make. 
Licensed  to  Owen  Rogers  in  1565. 

An  Excellent  Ballad  of  Patient  Grissel,  to  the  Tune  of 
The  Brides  Good  Morrow.  The  Second  Part  to  the  same 
Tune. 

London.  Printed  for  F.  Coles,  T.  Vere,  and  W.  Gilbertson. 
A  sheet  with  two  cuts. 

Printed  by  and  for  Alex.  Milbourn,  in  Green-Arbor-Court 
in  the  Little-Old-Baily.  J.  P.  Collier,  Esq. 

The  Ancient  True  and  Admirable  History  of  Patient  Grisel  was 
one  of  the  books  in  Shakspere's  library.  In  the  tract,  after  the 
Marquis  of  Salus  has  told  Grisel  that  his  new  marriage  is  all 
make-believe,  he  goes  on,  —  "only  sit  downe  till  the  dinner  is 
done,  and  bid  the  company  welcome  in  this  poore  attire;  for  the 
sun  will  break  through  slender  clouds,  and  vertue  shine  in  base 
array." 


ROMANCES  IN  PROSE 


83 


Shakspere  puts  this  thought, 

And  as  the  sun  breaks  through  the  darkest  clouds, 
So  honour  peereth  in  the  meanest  habit. 

The  Taming  of  the  Shrew,  iv,  3. 

Shakspere  refers  to  Patient  Grisel's  story  in  The  Taming  of  the 
Shrew,  II,  1. 

See  The  Pleasant  and  sweet  History  of  patient  GrisselL  1640. 

56 

1607.  Admirable  and  Memorable  Histories,  containing  the 
wonders  of  our  time.  Collected  into  French  out  of  the  best  Au- 
thors. By  I.  [or  rather  S.]  Goulart.  And  out  of  French  into  Eng- 
lish. By  Ed.  Grimeston.  The  Contents  of  this  booke  followe  tJie 
Authors  Aduertisement  to  the  reader. 

Imprinted  at  London  by  George  Eld.  1607.  4to.  323  num- 
bered leaves.  Only  the  first  volume  was  pubHshed.  British 
Museum. 

Histoires  admirables  et  memorables  de  nostre  temps.  Recueillies 
de  plusieurs  Autheurs.  Memoires,  &  Avis  de  divers  endroicts  .  .  . 
mises  en  lumiere  par  S.  Goulart  .  .  .  Corrigi  et  augments  de 
moitie  en  ceste  seconde  edition.  T.  Dare.  Rouen.  1606.  12mo. 
British  Museum. 

Lowndes  gives  the  French  name  "John"  Goulart,  and  the 
earliest  French  edition  in  Brunet  is  dated  1610;  there  was,  how- 
ever, a  Paris  edition  of  1600, 12mo,  2  vols.,  which  may  have  been 
Grimeston's  original.  See  Anglia.  November,  1894.  Band 
XVII.    Zweites  Heft. 

The  plots  of  the  following  dramas  are  found  in  Goulart:  — 

(1)  Duchess  of  Malfi.    1623.    4to.  Webster. 

(2)  Measure  for  Measure.  1623.  Folio.  Shakspere. 
Two  stories  on  the  subject.  Vol.  i,  pp.  300-04. 

(3)  Imperiale.   1640.    12mo.   Sir  Ralph  Freeman. 

1.  212.  (4)  The  Maid  in  the  Mill.   1647.  Folio.  Fletcher. 

The  Biographia  Dramatica  says  the  plot  of  Webster's  tragi- 
comedy. The  DeviVs  Law-Case,  1623,  4to,  is  found  in  Goulart, 
but  Hazlitt  could  not  find  it  there. 


84  ELIZABETHAN  TRANSLATIONS 


The  story  of  the  Induction  to  The  Taming  of  the  Shrew, 
Vanity  of  the  World  as  Represented  in  State,  is  related  of  Philip 
the  Good,  Duke  of  Burgundy,  in  Goulart's  Admirable  and  Mem- 
orable Histories y  1607,  p.  587-89.  It  is  another  version  of  The 
Waking  Mans  Dreame.  The  Fifth  Event  {Shakespeare  Society 
Publications y  Vol.  ii,  1845),  which  Mr.  H.  G.  Norton  takes  to  be 
a  fragment  of  the  collection  of  short  comic  stories  by  Richard 
Edwardes,  date  1570,  mentioned  by  Warton  who  says  he  had 
examined  the  book.  History  of  English  Poetry,  lii.  The 
same  story  occurs  in  Burton's  The  Anatomy  of  Melancholy, 
Part  II,  Section  2.  See  Hazlitt,  Shakespeare's  Library,  Part  i. 
Vol.  IV,  p.  403. 

Hazlitt  reprints  {Shakespeare^ s  Library,  Part,  i.  Vol.  i)  The 
Story  of  the  Two  Brothers  of  Avignon,  from  Goulart.  Compare 
The  Comedy  of  Errors. 

57 

1607.  A  World  of  Wonders:  or  an  Introduction  to  a  Treatise 
touching  the  Conformitie  of  ancient  and  modeme  Wonders:  or  a 
preparative  treatise  to  the  Apologie  for  Herodotus.  The  Argu- 
ment whereof  is  taken  from  the  Apologie  for  Herodotus,  written 
in  Latine  by  Henry  Stephen,  and  continued  here  by  the  Author 
himself e.  Translated  [by  R.  C]  out  of  the  best  corrected  French 
Copie. 

Imprinted  for  J.  Norton.  London.  1607.  Folio.  British 
Museum.  A.  Hart  and  R.  Lawson.  Edinburgh.  1608.  Folio. 
British  Museum. 

Dedicated  by  R.  C.  to  WiUiam  Herbert,  3d  Earl  of  Pem- 
broke. 

Translated  from  the  French  of  Henri  Estienne,  ii,  — 

L' introduction  au  traite  de  la  conformity  des  Merveilles  An- 

ciennes  avec  les  modernes:  ou,  traitS  preparatif  a  V  apologie  poure 

Herodote.    1566.  Oct. 

L^ Introduction  went  through  13  editions  between  1566  and 

1735. 

"The  phraseology  of  Shakspere  is  better  illustrated  in  this 


ROMANCES  IN  PROSE 


85 


work  than  in  any  other  book  extant."  (Thomas  Caldecott, 
Shaksperean  student  and  book  collector.) 

Beloe,  in  his  Anecdotes  of  Literature  and  Scarce  Boohs,  1812, 
Vol.  VI,  p.  232,  quotes  a  whimsical  French  poem  from  A  World 
of  Wonders,  with  the  English  translation  immediately  following. 
It  is  on  the  evil  life  of  monks  and  friars,  and  is  written  in  six- 
line  stanzas,  each  quatrain  bringing  forward  some  arraignment, 
and  the  refrain  answering  for  the  monks,  — 
Monsieur  nousfaisons  le  seruiccy 
An't  please  you  (Sir)  we  serve  the  Quire. 

Beloe  adds,  "I  am  not  acquainted  with  many  books  which 
are  more  replete  with  curious  anecdote  and  entertaining  inform- 
ation, than  the  above  translation  of  the  Apology  for  Herodotus, 
The  following  epigram,  which  is  prefixed,  appUes  very  happily 
to  its  contents :  — 

Non  juvat  assidue  lihros  tradare  severos, 

Bartole  sine  tuos,  sine  Galena  tms, 
Sed  lihet  ad  dulces  etiam  descendere  lusus 

Atque  animum  doctis  exhilarare  jocis. 

Another  cynical  poem  runs  as  follows,  — 

Trois  choses  sont  tout  d'un  accord, 
L'Eglise,  la  Cour,  et  la  Mart, 
VEglise  prend  du  vif,  du  mart. 
La  Cour  prend  le  droit  et  le  tort. 
La  Mort  prend  le  foible  et  lefort, 

Englished 
There  be  three  things  do  well  agree, 
The  Church,  the  Court,  and  Destinie, 
For  none  will  ought  to  other  leave. 
The  Church  from  live  and  dead  doth  reeve. 
The  Court  takes  both  the  right  and  wrong, 
And  Death  takes  both  the  weak  and  strong. 

Beloe,  VI,  207. 

In  Chapter  xv,  30,  Estienne  relates  the  story  of  the  Decam- 
eron, III,  3.  Otway's  comedy  of  The  Soldier^s  Fortune,  in  which 
Lady  Dunce  employs  her  husband  to  deliver  the  ring  and  letter 
to  her  admirer,  Captain  Belguard,  is  founded  on  this  tale,  as 


86  ELIZABETHAN  TRANSLATIONS 


also  Moliere's  UEcole  des  Maris.  Compare  Masuccio,  Novella 
50,  and  Marston's  The  Parasitaster. 

Chapter  xvii  contains  the  story  of  Measure  for  Measure,  the 
crime  being  attributed  to  the  Provost  de  la  Vouste. 

In  the  38th  chapter,  we  are  told  that  a  priest  of  Genoa,  re- 
turning from  the  Levant,  boasted  that  he  had  brought  from 
Bethlehem  the  breath  of  Jesus  Christ  in  a  vial,  and  from  Sinai 
the  horns  which  Moses  wore  when  he  descended  from  that 
mountain. 

A  World  of  Wonders  contains  a  detective  story  from  Herodo- 
tus (ii,  121,  1-6)  which  came  into  English  through  the  Italian 
(Bandello,  i,  25;  Ser  Giovanni,  II  Pecorone,  ix,  1)  as  Bindo  and 
Ricciardo,  It  was  translated  by  Painter,  Palace  of  Pleasure,  i, 
48.  Henslowe  records  an  old  anonymous  play  on  the  theme, 
Bendo  and  Ricardo,  acted  March  4,  1592. 

58 

1607.  The  Pleasant  Conceites  of  Old  Hobson  the  Merry  Lon- 
doner. Full  of  Humourous  Discourses  and  Witty  Merriments. 
Whereat  the  Quickest  Wittes  may  laugh,  the  wiser  sort  take  plea- 
sure. [By  Richard  Johnson.] 

Printed  at  London  for  John  Wright,  and  are  to  be  sold  at  his 
Shoppe  neere  Christ-Church  gate.  1607.  4to.  24  leaves.  Brit- 
ish Museum.  Bodleian.  Also,  1634.  12mo.  Bagford  Papers. 
1640.  12mo.  The  edition  of  1607  was  reprinted  in  1843,  by 
the  Percy  Society,  and  that  of  1640,  by  W.  Carew  Hazlitt,  in 
Old  English  Jest-Books.  1866. 

Dedicated,  by  Richard  Johnson,  "To  the  right  worshippfuU, 
Sir  William  Stone,  Knight,  Mercer  to  the  Queenes  Most  Excel- 
lent Maiesty." 

William  Hobson  was  a  haberdasher  of  small  wares  in  the 
Poultry  during  the  reigns  of  Edward  VI,  Mary,  and  Elizabeth; 
he  died  at  an  advanced  age  in  1581,  and  was  buried  in  St.  Mil- 
dred's Church  in  the  Poultry.  Thomas  Heywood  introduces  him 
as  a  well-known  personage  in  the  City^  in  the  second  part  of  his 
play,  //  you  Know  not  me  you  Know  Nobody,  or  The  Troubles  of 


ROMANCES  IN  PROSE 


87 


Queen  Elizabethy  1605;  a  passage  in  Act  i,  Sc.  1,  contains  the 
title,  — 

Hobson.  God  bless  thy  grace,  Queen  Bess! 
Queen.     Friend,  what  are  you? 
Hobson.   Knowest  thou  not  me.  Queen?  then,  thou 
knowest  nobody. 

Bones  a  me,  Queen,  I  am  Hobson,  old  Hobson; 

By  the  stocks !  I  am  sure  you  know  me. 

Very  likely  The  Pleasant  Conceites  of  Old  Hobson  was  sug- 
gested to  Richard  Johnson  by  Heywood's  play. 

A  collection  of  thirty-five  jests,  mostly  *' ancient  tales  new 
told." 

12.  How  Maister  Hobson  got  a  Patient  for  the  Sale  of  his 
Matches. 

No.  139,  of  Mery  Tales,  Wittie  Questions,  and  Quiche 
Answeres,  ed.  1567. 

13.  Master  Hobson  lest  of  Ringing  of  Bells  upon  Queene^s 
Day. 

No.  12,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (ed.  Berthelet,  c.  1535). 

14.  Of  a  Begers  Answear  to  Maister  Hobson. 

In  Mery  Tales,  Wittie  Questions,  and  Quiche  Answeres 
(ed.  Berthelet,  c.  1535). 

This  anecdote  is  related  of  the  poet  Skelton  and  a  beggar. 

15.  How  long  Maister  Hobsons  Daughter  mourned  her  Hus- 
bands Death. 

No.  10  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres (ed.  Berthelet,  c.  1535). 

Pasquils  Jests,  Of  a  young  woman  at  Bamet,  that  sorrowed 
for  her  husbands  death. 
18.  How  one  of  Maister  Hobsons  men  quited  him  with  a  merry 
lest. 

Poggio,  Facetiae,  clxxv.  De  paupere  qui  navicula  victum 
quaerebat. 

No.  54,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres (c.  1535),  where  it  is  related  of  Mr.  Justice  Vava- 
sour and  his  man  Turpin. 


88  ELIZABETHAN  TRANSLATIONS 


19.  Of  Maister  Hobsons  riding  to  Sturbrige  Faire, 

Poggio,  Facetiaey  xc.  Jocatio  cujusdam  Veneti  qui  equum 
suum  non  cognoverat. 

No.  72,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (c.  1535),  where  it  is  entitled.  Of  the  Two  Yong  men 
that  rode  to  Walsingham. 

20.  How  Maister  Hobson  found  a  Farmers  purse. 

An  anecdote  of  Old  Hobson  and  William  Fleetwood, 
Recorder  of  London. 

No.  16,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (c.  1535),  where  it  is  related  of  Mr.  Justice  Vava- 
sour and  his  man  Turpin. 

21.  How  Maister  Hobson  was  a  iudge  betwixt  two  women. 
No.  22,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (c.  1535). 

A  variant  is  the  tale  of  The  Foole  of  Lancaster  in  Jach 
of  Dover s  Quest  of  Inquirie.  1604. 

22.  Of  the  pride  of  Maister  Hobsons  wife. 

The  Foole  of  Bedford's  tale  in  J ach  of  Dover s  Quest  of  In- 
quirie. 

23.  Of  Maister  Hobsons  rewarding  a  poet  for  a  boohes  dedica- 
tion. 

No.  23,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (c.  1535),  where  it  is  told  of  Louis  XI  of  France 
and  a  husbandman  of  Burgundy. 

24.  How  Maister  Hobson  gave  one  of  his  servants  the  halfe  of  a 
blind  mans  benefit, 

Mery  Tales,  Wittie  Questions,  and  Quiche  Answeres  (c. 
1535). 

25.  How  Maister  Hobson  found  out  the  pye  stealer. 

No.  85,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres. 

26.  Of  Maister  Hobson  and  a  doctor  of  physiche. 

No.  48,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres (c.  1535). 

27.  How  Maister  Hobson  answered  a  popish  fryer. 


ROMANCES  m  PROSE 


89 


No.  119,  of  Mery  Tales ,  Wittie  Questions y  and  QuickeAn- 
sweres  (ed.  1567),  where  it  is  told  of  a  friar  who  preached 
on  St.  Francis. 

28.  How  Maister  Hohson  answered  Musitions. 

No.  77,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
swer es,  where  it  is  related  "of  the  covetous  ambassador 
who  would  hear  no  music." 

29.  0/  Master  Hohson  teaching  his  man  to  use  money. 

No.  79,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (c.  1535). 

30.  Of  Maister  Hobsons  sore  eyes  and  his  answer  to  Phisitions, 
Partly  copied  from  No.  88,  of  Mery  Tales,  Wittie  Ques- 
tions, and  Quiche  Answeres  (c.  1535). 

31.  0/  Maister  Hobsons  iest  of  the  signe  of  Saint  Christopher, 
Compare  No.  2  and  No.  8,  of  Mery  Tales,  Wittie  Ques- 
tions, and  Quiche  Answeres  (c.  1535). 

S3.  How  Maister  Hohson  hid  an  alderman  to  diner. 

In  part.  No.  35,  of  Mery  Tales,  Wittie  Questions,  and 
Quiche  Answeres,  where  it  is  told  "of  the  wise  man  Piso, 
and  his  Servant." 

34.  How  Maister  Hohson  grew  out  of  love  with  an  image. 
No.  75,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres (c.  1535) ;  also,  No.  13,  of  Wit  and  Mirth,  by 
John  Taylor,  the  water  poet. 

35.  How  Maister  Hohson  said  he  was  not  at  home  (to  William 
Fleetwood,  Recorder  of  London) . 

No.  112,  of  Mery  Tales,  Wittie  Questions,  and  Quiche 
Answeres  (c.  1535),  where  it  is  told  of  Scipio  Nasica  and 
Ennius  the  poet. 

59 

1608.  The  Hystorie  of  Hamhlet. 

London.    Imprinted  by  Richard  Bradocke  for  Thomas 
Pavier,  and  are  to  be  sold  at  his  shop  in  Corne-hill,  neere  to  the 
Royall  Exchange.  1608.  4to.  32  leaves.  Capell  Collection. 
.  Although  this  translation  is  dated  five  years  after  the  first 


90  ELIZABETHAN  TRANSLATIONS 


quarto  edition  of  The  Tragical  History  of  Hamlety  Prince  of 
Denmark,  1603,  it  is  generally  admitted  to  be  the  old  story  that 
Shakspere  used.  It  was  Englished  from  the  French  of  Belle- 
forest,  — 

Histoires  tragiques,  extraites  des  oeuvres  italiennes  de  Bandel 
et  mises  en  noire  langue  frangoise  par  Pierre  Boaistuau,  sur- 
nomme  Launay.  Six  nouvelles  seulement.  Paris.  1559.  Ben. 
Prevost  ou  Gilles  Robineau. 

Continuation  .  .  .  trad,  (ou  imitS)  par  Fr.  de  Belief oresty 
Comingeois.    Douze  nouvelles,    Paris.   Prevost.    1559.  In-8. 

These  eighteen  novels  make  up  Vol.  i  of  the  Histoires  Tra- 
giques;  there  are  seven  volumes  in  all:  Vol.  i,  1559,  1564,  1568, 
1570;  Vol.  II  and  Vol.  iii,  1569;  Vol.  iv  and  Vol.  v,  1570;  Vol 
VI,  1582;  Vol.  VII,  1583. 

The  Hystorie  of  Hamhlet  is  in  Vol.  v,  Troisieme  Histoire. 

60 

1609.  Heereafter  follow  certaine  Conceyts  &  leasts;  as  well  to 
laugh  downe  our  harder  undigested  Morsells,  as  breake  up  with 
myrth  our  Booke  and  Banquet,  Collected  out  of  Scotus  Poggius, 
and  others. 

The  title  here  given  occurs  at  p.  239  of  a  scarce  volume  en- 
titled The  Philosophers  Banquet.  London.  Printed  by  T.  C. 
for  Leonard  Becket,  1614.  8vo.  Second  edition.  The  first 
edition  appeared  in  1609  (8vo),  with  a  much  less  ample  title, 
and  a  third  was  published  in  1633.  Reprinted,  in  Old  English 
Jest-Books,  by  W.  Carew  Hazlitt.    London.    1866.  12mo. 

This  is  a  string  of  thirty-seven  jests,  many  of  them  well  known 
in  earlier  collections. 

No.  1.  Of  King  Philip  and  the  poor  man  descended  from  Adam, 
is  No.  86,  of  Mery  Tales,  Wittie  Questions,  and  Quicke 
Answers.  1567. 

"  One  begg'd  of  Queene  Elizabeth,  and  pretended  kin- 
dred and  alliance,  but  there  was  no  such  relation. 
*  Friend,*  says  she,  'grant  it  be  so,  do*st  thinke  I  am 
bound  to  keepe  all  my  kindred?  Why,  that's  the  way 


ROMANCES  IN  PROSE 


91 


to  make  me  a  beggar.' "   {Merry  Passages  and  Jests, 
collected  by  Sir  Nicholas  L*Estrange  [W.  J.  Thoms's 
Anecdotes  and  Traditions,  p.  16].) 
No.  3.  Of  a  thief  who  had  stolen  the  goose  of  a  poor  woman,  is 
No.  85,  ibid. 

No.  13.  Of  an  old  woman  almost  blind  and  her  thieving  physician, 
is  No.  89,  ibid. 

No.  31.  Of  the  excellent  painter  who  had  deformed  children,  is 
No.  91,  ibid. 

No.  14.  Of  a  large  man  married  to  a  small  woman,  is  No.  61  of 

A  C.  Mery  Talys;  c.  1525. 
No.  24.  Of  a  ''Ladie  of  Florence,''  is  quoted  from  "Guicch." 
No.  36  is  an  anecdote  of  "Pope  Boniface  8,  B.  of  Rome." 

61 

1617.  Merry  Jests  concerning  Popes,  Monkes,  and  Friers. 
Whereby  is  discovered  their  abuses  and  Errors  &c.  Written  first 
in  Italian  by  N.  S.  and  thence  translated  into  French  by  G.  I.  and 
now  out  of  French  into  English  by  R.  W.  Bac.  of  Arts  of  ^^.[arts] 
fl^.[all]  in  Oxon.  Omne  tulit  punctum  qui  miscuit  utile  dulci. 

Printed  by  G.  Eld,  1617.  8vo.  Black  letter.  68  leaves.  Sev- 
eral later  editions.  There  is  a  copy  in  the  Library  of  Worcester 
College,  Oxford. 

R.  W.  is  supposed  to  be  Rowland  Willet. 

62 

1620.  II  decamerone  di  Boccacio  in  Italian  and  the  historie  of 
China  both  in  Italian  and  English  Aucthorized  by  Thle]  arch- 
bishop of  Canterbury  as  is  reported  by  master  Cosin. 

Licensed  to  John  Wolf,  September  13,  1587.  Stationers* 
Register,  B. 

Whether  this  book  ever  came  to  print,  I  do  not  know,  but 
it  is  not  a  little  remarkable  that  Archbishop  Whitgift  should 
have  authorized  an  Italian  edition  of  the  Decameron  in  the  same 
year  that  a  translation  of  the  Amorosa  Fiammetta  was  pub- 
lished under  the  authority  of  the  Bishop  of  London. 


92      '      ELIZABETHAN  TRANSLATIONS 


Franco  Sacchetti,  one  of  Boccaccio's  personal  friends,  in  the 
preface  to  his  Three  Hundred  TaleSy  mentions  an  EngUsh  trans- 
lation of  Boccaccio,  — 

"  e  riguardando  in  fine  alio  eccellente  poeta  fiorentino  messer 
Giovanni  Boccacciy  it  quale  descrivendo  il  libro  delle  cento  Novelle 
per  una  materiale  cosa,  quanto  al  nobil  suo  ingegno  .  .  .  quello  e 
divulgato  e  richie  .  .  .  che  insino  in  Franciay  e  in  Inghilterra 
Vhanno  ridotto  alia  loro  lingua^  e  grand  ..." 

Proemio  del  trecento  novelle,  about  1399. 

The  Decameron  of  Master  John  Bocace,  Florentine,  was  licensed 
to  Master  William  Jaggard,  March  22,  1620,  with  the  accom- 
panying note,  "recalled  by  my  lord  of  Canterburyes  comand." 

"So  this  edition  of  Boccacio  was  licensed  by  the  Bishop  of 
London  through  his  secretary,  and  that  license  afterwards 
revoked  by  the  Primate."  {Stationers'  Register,  C.  Arber's 
Transcript.) 

The  Decameron  containing  An  hundred  pleasant  Nouels. 
Wittily  discoursed,  betweene  seaven  Honorable  Ladies,  and  three 
noble  Gentlemen. 

London.  Printed  by  Isaac  Jaggard.  1620.  2  volumes  in  one. 
Folio.  With  woodcuts.  British  Museum  (2  copies). 

This  is  the  first,  and  anonymous,  edition  of  the  first  English 
translation  of  the  Decameron. 

In  the  second  edition  of  Vol.  i,  1625,  the  title  is  changed  to,  — 

The  Modell  of  Wit,  Mirth,  Eloquence  and  Conversation. 
Framed  in  ten  dayes,  of  an  hundred  curious  pieces,  by  seven 
Honourable  Ladies,  and  three  Noble  Gentlemen.  Preserved  to 
posterity  by  the  renowned  John  Boccacio,  the  first  refiner  of 
Italian  prose,  and  now  translated  into  English. 

London.  Printed  by  Isaac  Jaggard  for  Matthew  Lownes. 
1625.  Folio. 

The  Modell  of  Wit,  Mirth,  Eloquence  and  Conversation,  framed 
in  Ten  Dayes,  of  One  Hundred  curious  Peeces,  by  seven  Honour- 
able  Ladies  and  three  Noble  Gentlemen. 

London.  Printed  by  Thomas  Cotes,  &c.  1634.  8vo.  Third 
edition.    Vol.  i  only. 


ROMANCES  IN  PROSE 


93 


Modell  of  Wit,  Mirth,  Eloquence,  and  Conversation  framed  in 
ten  days. 

1657-55.  Two  volumes  in  one,  fourth  edition,  woodcuts, 
with  double  title  to  Vol.  i.  MS.  Notes  by  J.  P.  Collier.  Quar- 
itcKs  Catalogue. 

B*s  Tales;  or,  the  Quintessence  of  Wit.  .  .  . 

Fourth  edition.  2  pt.  E.  Cotes.  London,  1657-55.  12mo. 
[8vo.  Hazlitt.] 

Vol.  I  only  is  of  the  fourth  edition,  and  has  a  second  title-page, 
which  reads.  The  Model  of  Wit,  etc.  The  title-page  of  Part  2 
reads,  The  Decameron  containing,  etc.  British  Museum  Cata- 
logue. 

The  Decameron  Preserved  to  Posterity  hy  Giovanni  Boccaccio, 
and  Translated  into  English,  Anno  1620.  With  an  Introduction 
by  Edward  Hutton. 

London.    David  Nutt.    1909.    4  vols.    sq.  8vo. 

Tudor  Translations,  xli,  xlii,  xliii,  xliv.  Reprint  of  first 
translation. 

The  Decameron  of  Giovanni  Boccacci  (II  Boccaccio)  now  first 
completely  done  into  English  Prose  and  Verse  by  John  Payne 
Author  of  The  Masque  of  Shadows  Intaglios  Songs  of  Life  and 
Death  Lautrec  New  Poems  etc.  and  Translator  of  The  Poems  of 
Master  Francis  Villon  of  Paris  The  Book  of  the  Thousand  Nights 
and  One  Night  and  Tales  from  the  Arabic. 

London.  1886.  Printed  by  private  subscription  and  for 
private  circulation  only.    Second  English  translation. 

The  Decameron  of  Giovanni  Boccaccio  faithfully  translated  by 
James  Macmullen  Rigg.  With  Illustrations  by  Louis  Chalon. 
2  vols.    Royal  8vo. 

London.    A.  H.  BuUen.    1903.    Third  English  translation. 
The  Decameron  furnishes  plots  for  thirty-three  Elizabethan 
dramas,  and  for  fifty-four  English  plays  in  all. 

II.   2.   (1)  The  Widow.    1652.   4to.   T.  Middleton,  John 

Fletcher,  Ben  Jonson. 
II.  5.   (2)  The  Rover,  or  The  Banished  Cavaliers.  1677. 
Aphra  Behn. 


94 


ELIZABETHAN  TRANSLATIONS 


(3)  Victoria.    Materialen  zur  Kunde,   1906.  Abra- 
ham Fraunce. 

II.  6.   (4)  Blurt,  Master  Constable.   1602.   4to.  Thomas 
Middleton. 

The  Rover.    1677.    Aphra  Behn. 
(5)  Love  in  Many  Masks.    1790.    J.  P.  Kemble's 
version  of  The  Rover. 
II.  8.   (6)  Violentay  or  The  Rewards  of  Virtue,  turn'd  from 
Bocacce  into  Verse.    1704.   Mary  Griffith  Pix. 

II.  9.   (7)  Cymheline.    1623.    Foho.  Shakspere. 

(8)  A  Challenge  for  Beauty.    1636.    Thomas  Hey- 
wood. 

(9)  The  Injured  Princess,  or  The  Fatal  Wager. 
1682.    Thomas  D'Urfey. 

III.  3.  (10)  The  Parasitaster,  or  The  Fawne.   1606.  John 
Marston. 

{11)  The  Fleire.    1607.    4to.    Edward  Sharpham. 

(12)  The  Devil  is  an  Ass.  Acted,  1616.  Ben  Jonson. 

(13)  Flora's  Vagaries.    1677.   4to.  Richard  Rhodes. 

(14)  Love  in  the  Darke:  or  The  Man  of  Business. 
1677.    Sir  Francis  Fane,  Jr. 

(15)  The  Soldier's  Fortune.  1681.  Thomas  Otway. 

(16)  The  Busy  Body.  Act  iii.  Susannah  CentUvre. 
III.   5.         The  Devil  is  an  Ass.    1616.    Ben  Jonson. 

The  Busy  Body.    Act  ii.  Susannah  CentHvre. 

III.  8.         The  Fleire.    1607.    4to.  Edward  Sharpham. 

(17)  The  Night  Walker,  or  The  Little  Thief.  1640. 
4to.    John  Fletcher. 

III.  9.  (18)  All 's  Well  that  Ends  Well.  1623.  FoHo.  Shak- 

spere. 

IV.  1.  (19)  Tancred  and  Gismund.  1592.  4to.  Robert  Wil- 

mot. 

(20)  Tancred.  Written,  1586-87.  Not  extant.  Sir 
Henry  Wotton. 

(21)  The  Cruel  Gift,  or  the  Royal  Resentment.  1717. 
12mo.    Susannah  CentHvre. 


ROMANCES  IN  PROSE 


95 


(22)  Tancred  and  Sigismunda.   1745.   8vo.  James 
Thomson. 

IV.  8.  (23)  The  Broken  Heart  Dramatic  Scenes  and  Other 
Poems.    1819.    Barry  Cornwall. 

IV.  10.  (24)  Hymenaeus.    1909.  16mo. 

V.  5.  (25)  The  Florentine  Party.    Dramatic  Scenes  and 

Other  Poems.    1820.    Barry  Cornwall. 
V.   7.  (26)  Triumph  of  Love,  or  Cupid.    (Four  Plays  in 

One.)    1647.    Folio.    Beaumont  and  Fletcher. 
V.  S.  (^7)  A  Contention  for  Honour  and  Riches.  1633.  4to. 

James  Shirley. 
(28)  Honoria  and  Mammon.    1659.    8vo.  James 

Shirley. 

V.  9.  (29)  The  Falcon.  Dramatic  Scenes  and  Other  Poems. 
1819.    Barry  Cornwall. 
(30)  The  Falcon.   1879.  St.  James's  Theatre,  Lon- 
don. Tennyson. 
VII.   6.  (31)  Cupid's  Whirligig.  1607.  4to.  Edward  Sharp- 
ham. 

(32)  The  Atheist's  Tragedy,  or  The  Honest  Man's  Re- 
venge.   1611.    4to.    Cyril  Tourneur. 

(33)  Women  Pleased.    1647.    Folio.    John  Fletcher. 

(34)  The  London  Cuckolds.    1682.    4to.  Edward 
Ravenscroft. 

VII.   7.  (35)  The  City  Nightcap,  or  Crede  quod  habes  et  habes. 

1661.    4to.    Robert  Davenport. 

Love  in  the  Darke ;  or  The  Man  of  Business. 

1675.    Sir  Francis  Fane,  Jr. 

The  London  Cuckolds.    1682.    4to.  Edward 

Ravenscroft. 
(36)  The  Amorous  Prince.    1671.    Aphra  Behn. 
VII.  8.  (37)  The  Guardian.  1655.  Folio.  Philip  Massinger. 

Women  Pleased.   1647.  Folio.  John  Fletcher. 

VII.  9.  (38)  The  Antiquary.  1641.  Foho.  Shackerley  Mar- 

mion. 

VIII.  7.        The  Guardian.  1655.  8vo.  Philip  Massinger. 


96 


ELIZABETHAN  TRANSLATIONS 


VIII.  8.  (39)  Adrasta:  or  The  Woman*s  Spleen  and  Love's  Con- 
quest   1635.    John  Jones. 
Women  Pleased.   1647.  Folio.  John  Fletcher. 
(40)  Rule  a  Wife  and  Have  a  Wife.  1640.  4to.  John 
Fletcher. 

IX.  1.  (41)  The  Siege,  or  Love's  Convert.  1651.    8vo.  Wil- 

liam Cartwright. 

X.  1.  (42)  The  Merchant  of  Venice.  Act  ii,  Sc.  6  (casket 

scene).    1600.    4to.  Shakspere. 
X.  4.  (43)  The  Lover's  Tale.    The  Golden  Supper.  1879. 
Tennyson. 

X.  5.  (44)  The  Two  Merry  Milkmaids,  or  The  Best  Words 
Wear  the  Garland.    1620.    4to.    J.  C. 
(45)  Triumph  of  Honour,  or  Diana.  {Four  Plays  in 
One.)  1647.  Folio.  Beaumont  and  Fletcher. 

X.  8.  (46)  De  Titi  et  Gisippi  amicitia.  c.  1547-59.  Ralph 
Radcliffe. 

(47)  Titus  and  Gisippus.  Acted  February  17,  1577. 

(48)  Monsieur  Thomas,  or  Father's  Own  Son.  1639. 
4to.    John  Fletcher. 

(49)  Gisippus,  or  The  Forgotten  Friend.  1842.  Gerald 
Griffin. 

The  City  Nightcap.  1661.  4to.  Robert  Daven- 
port. 

X.  10.  (50)  De  patientia  Griselidis.  c.  1547-59.  Ralph  Rad- 
cliffe. 

(51)  The  Pleasant  Comodie  of  Patient  GrisselL  1603. 
4to.  Wm.  Haughton,  H.  Chettle,  Thomas 
Dekker. 

(52)  Patient  Grizill  (* puppet  play'),  Pepys's  Diary, 
August  30,  1667. 

(53)  Griselda.  A  Tragedy.  1856.  Edwin  Arnold. 

(54)  Griselda.  1873.  Princess  Theatre.  M.  E. 
Braddon. 


ROMANCES  IN  PROSE 


97 


63 

1620.  Westward  for  Smelts.  Or,  The  Water-man's  Fare  of 
mad-merry  Western  wenches,  whose  tongues,  albeit  like  Bell- 
clappers,  they  neuer  leaue  Ringing,  yet  their  Tales  are  sweet,  and 
will  much  content  you.  Written  by  Kinde  Kit  of  Kingstone. 

London.  Printed  for  John  Trundle,  and  are  to  be  sold  at  his 
shop  in  Barbican,  at  the  signe  of  the  No-boby.  1620.  4to. 
Black  letter.    Capell  Collection. 

Reprinted  in  J.  P.  Collier's  Shakespeare's  Library,  no  date 
(preface  dated  July  14,  1843),  Vol.  ii;  also  in  1848,  edited  by 
J.  O.  Halliwell,  for  the  Percy  Society. 

The  Fishwife's  Tale  of  Brainford,  No.  1,  whose  scene  is  laid  at 
Windsor,  is  mentioned  by  Malone  as  a  possible  source  of  The 
Merry  Wives  of  Windsor. 

Its  Italian  original,  *ia  sventurata  col  naso  mozzo,'  is  a  com- 
mon motive  with  the  novellieri;  it  is  found  in  Firenzuola,  Dis- 
corsi  degli  animali;  in  Doni,  La  moral  Jilosophia,  i,  2;  in  Males- 
pini,  Ducento  Novelle,  ii,  40.  Massinger  used  the  device  of  the 
supposed  saving  miracle  in  The  Guardian,  iii,  6. 

The  Fishwife's  Tale  of  Standon  on  the  Greene,  No.  2,  is  the 
story  of  Zinevra,  Decameron,  n,  9,  Imogen's  story,  in  Cym- 
beline. 

The  Fishwife's  Tale  of  Richmond,  No.  3,  is  the  old  story  of  the 
locked-out  husband,  Decameron,  v,  4.  Boccaccio  found  it  in 
Puteus,  of  the  Seven  Wise  Masters. 

The  Fishwife's  Tale  of  Hampton,  No.  6,  is  Filiberto's  pledge 
to  Zilia,  Bandello,  iii,  17.  It  was  translated  by  Fenton  as  The 
Crueltie  of  a  Wydowe,  and  by  Painter,  as  The  Lord  of  Virle,  and 
is  the  theme  of  two  plays  — 

The  Dumb  Knight,  1613,  4to,  by  Gervase  Markham  and 
Lewis  Machin;  and 

The  Queen,  or  The  Excellency  of  her  Sex,  edited  by  Alexander 
Gough,  1653. 


98  ELIZABETHAN  TRANSLATIONS 


64 

1628.  The  True  History  of  the  tragicke  loves  of  Hipolito  and 
Isabella,  Neapolitans.  Englished.  [Preceded  by  verses  ad- 
dressed "To  the  volume"  signed  G.  C] 

London.  T.  Harper  and  N.  Feild.  1628.  8vo.  British 
Museum. 

The  second  edition.  T.  Harper;  sold  by  R.  Meighen.  Lon- 
don.   1633.  8vo. 

"Some  verses  signed  *G.  C.,'  prefixed  to  The  True  History  of 
the  Tragicke  loves  of  Hipolito  and  Isabella  (1628),  are  probably 
to  be  assigned  to  Chapman."  {Dictionary  of  National  Biogra- 
phy.) 

The  romance  is  the  source  of  Middleton's  tragedy,  Women 
Beware  Women,  printed  in  1657.  (Langbaine,  Account  of 
English  Dramatic  Poets,  p.  374.) 

The  second  plot,  in  its  beginnings,  is  the  life  of  Bianca  Ca- 
pello,  wife  of  Francesco  dei  Medici,  Grand  Duke  of  Tuscany. 
One  of  the  mysterious  crimes  of  Italian  history  is  the  sudden 
and  almost  simultaneous  death  of  Francesco  and  Bianca  at 
Poggio  a  Cajano  in  1587. 

65 

1628.  The  Powerfull  Favorite,  or  The  Life  of  Aelius  Sejanus, 
By  P.[ierre]  if.[atthieu]. 

Paris.  1628.  4to.  Pp.  154.  British  Museum  (2  copies). 
Also,  an  abridged  translation.  Paris.  1628.  4to.  Pp.  62. 
British  Museum. 

This  translation  was  published  as  a  satire  on  the  Duke  of 
Buckingham.  It  was  taken  from  Matthieu's 

Aelius  Sejanus.  Histoire  Romaine,  recueillie  de  divers  au- 
theurs.  Seconde  edition.  {Histoire  des  prosperitez  malheureuses 
d^une  femme  Cathenoise,  grande  seneschalle  de  Naples.  En  suite 
de  Aelius  Sejanus.) 

2  pt.    Rouen.    1618.  12mo. 

Histoire  Prosperitez  Malheureuses,  D'une  femme  Cathenoise, 


ROMANCES  IN  PROSE 


99 


grande  Senechalle  de  Naples,  En  suite  de  Aelius  Seianus.  Par 
P,  Matthieu. 

A  Rouen,  chez  Jean  Berthelin,  dans  la  cour  du  Palais, 
MDCXXVi.    12mo.    4th  edition. 

Avertissement 

Boccace  Florentin  est  I'Autheur  de  ceste  Histoire,  la  derni- 
ere  de  son  liure,  De  casibus  virorum  Illustrium,  et  le  rapporte 
sur  sa  foy  de  ses  propres  yeux,  et  de  deux  vieux  Capitaines, 
Marin  de  Bulgare,  et  Constantin  de  la  Roque,  qu'il  auoit  cog- 
neu  a  la  Cour  de  Robert  Roy  de  Naples.  Je  I'ay  conferee  a  un 
ancien  manuscript,  a  la  premiere  Impression  faite  en  France, 
et  a  ce  qu*en  escrit  J.  Ant.  Summoto. 

C'est  un  tragique  effect  de  I'inconstance  de  la  fortune,  qui 
n'est  moins  ingenieuse  en  ses  tromperies,  qu'estour  die  en  ses 
faueurs.  EUe  ne  pouuoit  esleuer  ceste  femme  de  plus  bas,  n*y 
la  renuerser  de  plus  haut,  pour  montrer  que  la  montee  aux 
grandes  prosperitez  est  de  verre,  la  cime  tremhlement,  la  descente 
en  precipice. 

E  d  voli  troppo  alti  e  repentini 
Soglino  i  precipitii  esser  vicini, 
Torq.  Tasso. 

The  tale  comes  from  Boccaccio's  De  Casibus  Virorum  et 
Foeminarum  lUustrium,  Sir  Thomas  Hawkins  translated  it 
again,  from  Matthieu,  in  1632,  as  Unhappie  Prosperitie. 

66 

Unhappy  Prosperities  expressed  in  the  histories  of  Aelius 
Seianus  and  Philippa  the  Catanian,  with  observations  on  the  fall 
of  Seianus.  Written  in  French  by  P.  Matthieu.  And  translated 
into  English  by  S^'  Th.  Hawkins. 

London.  Printed  by  lo.  Haviland  for  Godfrey  Emondson. 
1632.  4to.  British  Museum.  Second  edition,  "with  .  .  .  cer- 
tain considerations  upon  the  life  and  services  of  M.  Villeroy." 
London.  1639.  12mo.  British  Museum  (2  copies). 

Dedicated  to  William  Cecil,  2nd  Earl  of  Salisbury. 

Ben  Jonson  wrote  a  tragedy  on  Sejanus's  history,  Sejanus,^ 
his  Fall.    1605.  4to. 


100  ELIZABETHAN  TRANSLATIONS 


67 

1630.  The  Merry  Tales  of  the  Mad  Men  of  Gottam.  Gathered 
together  by  A.B.  of  Phisicke,  Doctor.  [Woodcut  of  the  hedging- 
in  of  the  cuckoo.] 

Printed  at  London  by  B.[ernard]  A.[lsop]  and  T.[homas] 
F.[awcet]  for  Michael  Sparke,  dwelling  in  Greene  A[r]bor  at 
the  signe  of  the  Blue-Bible.  1630.  12mo.  Black  letter. 
12  leaves,  including  title.  Bodleian.  This  chap-book,  the  earli- 
est extant  version,  was  reprinted  in  Old  English  Jest-Boohs, 
W.  Carew  Hazlitt.    London.  1866. 

Hazlitt's  edition  was  reproduced,  in  popular  form,  by  Alfred 
Stapleton,  in 

All  About  the  Merry  Tales  of  Gotham.  Nottingham.  1900. 
Numerous  chap-books.  A.  B.  is  supposed  to  be  Dr.  Andrew 
Borde,  said  to  be  physician  to  King  Henry  VIII.  Anthony  a 
Wood  says  that  Borde  was  "esteemed  a  noted  poet,  a  witty 
and  ingenious  person,  and  an  excellent  physician."  His  ready 
wit  and  jocose  language  are  said  to  have  given  rise  to  the  name 
*  Merry  Andrew'  for  the  fool  on  the  mountebank's  stage. 
2.  A  man  of  Gotham  riding  to  market  carried  his  corn  on  his 
own  neck  to  save  his  horse. 

Poggio,  Facetiae,  lvi.  De  illo  qui  aratrum  super  humerum 
fortavit. 

12.  There  was  a  man  of  Gottam,  and  he  did  not  hue  his  wife. 
This  story  is  No.  38  of  Les  Cent  Nouvelles  Nouvelles  (ed. 
Wright,  I,  238).  Compare  also  Decamerone,  iii,  2,  and 
VII,  8.  Another  variation  of  the  adventure  will  be  found 
in  The  Old  Wiues  Tale,  of  The  Cobler  of  Caunterburie 
(1590).  See  A  C.  Mery  Talys,  and  The  Cobler  of  Caun- 
terburie, 

A  "merriment,"  by  William  Kemp,  forms  Scene  12  of  the 
anonymous  comedy,  A  Knacke  to  Knowe  a  Knave,  with  Kemp*s 
applauded  merriments  of  the  men  of  Gotcham,  in  receiving  the 
King  into  Gotcham  (printed,  1594).  It  was  played  by  "Ed- 
ward Allen  and  his  company,"  at  the  Rose,  June  10,  1592. 


ROMANCES  IN  PROSE 


101 


Kemp  went  abroad  with  the  Earl  of  Leicester's  company 
of  players,  in  1586,  visiting  the  Netherlands,  Denmark,  and 
Saxony.  Between  February  11  and  March  11, 1600,  he  danced 
his  celebrated  Morris  to  Norwich,  having  put  out  money  at 
three  to  one  that  he  could  accomplish  this  feat.  He  wrote  nu- 
merous jigs,  and  is  the  *  jesting  Will'  of  The  Travels  of  Three 
English  Brothers,  Scene  9  (1607),  by  John  Day,  and  others. 
In  The  Returne  from  Parnassus  (1606),  Kemp  and  Richard 
Burbage,  as  the  acknowledged  heads  of  their  profession,  in- 
struct the  University  students  in  their  art.  "He  is  not  counted 
a  gentleman  [says  the  author  of  The  Returne  from  Parnassus] 
that  knows  not  Will  Kempe." 

William  Kemp  was  the  original  Dogberry  in  Much  Ado 
About  Nothing,  and  Peter  in  Romeo  and  Juliet, 

Madrigal 

Since  Robin  Hood,  Maid  Marian, 

And  Little  John  are  gone  a; 
The  Hobby-horse  was  quite  forgot, 

When  Kempe  did  dance  alone  a. 
He  did  labour  after  the  Tabor 
For  to  dance,  then  into  France 
He  took  pains 
To  skip  it. 
In  hope  of  gains 
He  will  trip  it, 
On  the  toe 
Diddle  do. 

Thomas  Weelkes.  Ayres  or  Phantasticke  Spirited  for  three  voices. 
1608.  (Twenty-six  pieces,  mostly  comic.) 

68 

1630.  Wit  and  Mirth.  Chargeably  Collected  Out  of  Taverns, 
Ordinaries,  Innes,  Bowling-Greenes  and  AUyes,  Ale-houses, 
Tobacco-shops,  Highwayes,  and  Water-passages.  Made  up,  and 
fashioned  into  Clinches,  Bulls,  Quirkes,  Yerhes,  Quips,  and 
Jerkes.  Apothegmatically  bundled  up  and  garbled  at  the  request 
of  old  John  Garretts  Ghost.  [By  John  Taylor,  the  Water  Poet.] 

[London?]    1630.  Folio. 


102  ELIZABETHAN  TRANSLATIONS 


Wit  and  Mirths  being  113  pleasant  Tales  and  witty  Jests. 
London.    1635.  8vo. 

Reprinted  in  Old  English  Jest-Boohs,  by  W.  Carew  Hazlitt. 
London.    1866.  12mo. 

In  his  dedication,  "To  the  truely  Loyall  harted,  learned, 
well  accomplished  Gentleman,  Master  Archibold  Rankin," 
Taylor  says  he  was  "enioyned  by  the  Ghost  or  Genious  of  old 
John  Garret  (a  man  well  known  and  beloved)  to  collect,  gleane, 
or  gather,  a  bundle  or  trusse  of  mirth,  and  for  his  sake  to  be- 
strow  the  stage  of  the  melanchoUy  world  with  it." 

John  Garret  was  a  well-known  jester  of  the  period. 

Taylor's  Wit  and  Mirth  is  a  string  of  137  jests  (in  the  first 
edition),  with  a  concluding  "Ribble-rabble  of  Gossips,'*  and  is 
on  the  whole  one  of  the  best  collections  of  this  kind  ever  pub- 
lished. The  stories  are  racy  and  droll,  bearing  the  peculiar 
tang  of  the  eccentric  Water  Poet.  They  are  not,  except  in  a 
few  instances,  offensively  gross,  and  many  of  them  concern 
well-known  persons  of  Taylor's  London.  But  while  the  presen- 
tation of  the  jests  is  distinctively  original  and  Taylorian,  Tay- 
lor expressly  disclaims  originality  of  matter,  —  "Because  I  had 
many  of  them  by  relation  and  heare-say,  I  am  in  doubt  that 
some  of  them  may  be  in  print  in  some  other  Authors,  which 
I  doe  assure  you  is  more  then  I  doe  know." 
13.  A  poore  Country  man,  praying  deuoutly  superstitious  before 
an  old  Image  of  S.  Loy. 

No.  75,  of  Mery  Tales,  Wittie  Questions,  and  Quicke  An- 
sweres  (c.  1535). 

No.  34,  of  The  Pleasant  Conceites  of  Old  Hobson. 
25.  There  was  a  Scottish  Gentleman  that  had  sore  eyes. 

No.  88,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  An- 
sweres  (c.  1535). 

No.  30,  of  The  Pleasant  Conceites  of  Old  Hobson. 
55.  There  was  a  Lusty  Miller. 

No.  73,  of  Mery  Tales,  Wittie  Questions,  and  Quiche  Au' 

sweres  (c.  1535). 
92.  A  Fellow,  hauing  beene  married  butjiue  weehes. 


ROMANCES  m  PROSE 


103 


A  variation  of  No.  29,  Les  Cent  Nouvelles  Nouvelles.  Ed. 
Wright. 

103.  An  Ideot,  who  dwelt  with  a  rich  uncle  he  had,  etc. 

"There  came  unto  this  Citty  an  ItaKan  Earle,  of  the 
house  of  Anguilora,  called  Emilio  who,  desiring  to  haue  a 
Foole  with  him,  promised  a  great  Almes  unto  their  house, 
if  they  would  giue  him  a  mad-man,  who,  hauing  lost  his 
fury,  might  entertaine  him  with  sport."  {The  Pilgrime  of 
Casteele,  1621,  p.  73.) 

107.  A  Doctor  of  Physicke  in  Italy  asked  a  waterman,  if  hee 
might  goe  well  by  water  ouer  the  River  Po. 

135.  A  trauailer  was  talking  what  a  goodly  City  Rome  was,  to 
whom  one  of  the  company  said,  that  all  Rome  was  not  in 
Italy,  for  wee  had  too  much  Rome  in  England. 

69 

1632.  The  Fortunate,  the  Deceived,  and  the  Unfortunate  Lovers, 
1632.  4to. 

I  find  four  dramas  whose  plots  are  in  this  collection  of  tales. 

(1)  The  Merry  Wives  of  Windsor.    1602.    4to.  Shakspere. 

(2)  Four  Plays  in  One.  1647.  Folio.  Beaumont  and  Fletcher, 
Triumph  of  Death. 

(3)  The  Cunning  Lovers.    1654.    4to.    Alexander  Brome. 

(4)  All 's  Lost  by  Lust.    1633.    William  Rowley. 

See  Painter,  Palace  of  Pleasure,  1566,  and  A  Most  Lamen- 
table and  Tragicall  Historic  [of  Violenta  and  Didaco],  by 
Thomas  Achelley,  1576. 

70 

1632.  Eromena,  or  Love  and  Revenge.  .  .  .  now  faithfully 
Englished  by  J.  Hayward,  etc. 

R.  Badger  for  R.  Allot.  London.  1632.  Folio.  British 
Museum. 

Dedicated  to  James  Stuart,  Duke  of  Richmond  and  Lennox, 
and  having  prefixed  commendatory  verses  by  James  Howell. 
This  is  a  translation  of  Giovanni  Francesco  (Sir  John  Francis) 


104  ELIZABETHAN  TRANSLATIONS 


Biondi's  romance  entitled  Z'  Eromena  divisa  in  sei  libri.  Venice. 
1624.    4to.    Also,  1640.  4to. 

71 

Donzella  Desterrada,  Or,  The  BanisKd  Virgin.  Written 
originally  in  Italian  by  Cavalier  Gio.  Francesco  Biondi,  Gentle- 
man Extraordinary  of  his  Majesties  Privy  Chamber,  Divided 
into  three  Bookes:  And  Englished  by  I.  H.  of  Graies  Inne,  Gent. 

Printed  at  London  by  T.  Cotes  for  Humphrey  Mosley. 
1635.    Folio.    British  Museum. 

Dedicated  to  "the  Right  Noble  and  most  excellent  Princesse 
the  Lady  Katherine  [Manners  Villiers],  Dutchesse  of  Bucking- 
ham," etc. 

A  translation  of  Biondi's  La  Donzella  Desterrada:  divisa  in 
due  volumi  .  .  .  seguita  V  Eromena.    2  vols. 
Venice.    1627-28.    4to.    Also,  1640.  4to. 
Dedicated  to  the  Duke  of  Savoy. 

72 

CoralbOf  a  New  Romance,  in  three  Bookes,  Rendered  into 
English. 

London.    1655.  Folio. 

Dedicated  to  William  Wentworth,  second  Earl  of  Strafford. 

A  translation  of  Biondi's  third  romance,  //  Coralbo.  Segue 
la  Donzella  Desterrada.  Venice.  1635.  4to.  1641.  4to.  The 
translator,  A.  G.,  states  that  Biondi  regarded  Coralbo  as  "the 
most  perfect  of  his  romances."  The  three  romances  are  chival- 
ric,  and  tell  a  continuous  story,  as  the  Italian  titles  indicate. 
How  long  the  trilogy  is  in  English  I  do  not  know,  but  in  Italian 
it  took  twelve  books  to  relate  all  the  adventures  of  the  banished 
lady. 

73 

1635.  The  Arcadian  Princesse;  or,  the  Triumph  of  Justice: 
Prescribing  excellent  rules  of  Physicke,  for  a  sick  Justice.  Di- 
gested into  Fowre  Bookes,  and  Faithfully  rendered  to  the  original! 


ROMANCES  IN  PROSE 


105 


Italian  Copy,  by  Ri.  Brathwaitey  Esq.  (With  "the  life  of  Mari- 
ano Silesio  the  approved  Author  of  this  worke.") 

Th.  Harper  for  Robert  Bostocke.  London.  1635.  8vo.  269 
leaves.    British  Museum  (2  copies). 

Argument. 

Themista  reproves  such,  as  being  wedded  to  their  own  opinion, 
will  not  incline  to  Reason,  but  prefer  a  precipitate  Will  before  a  de- 
liberate Judgment. 

Like  to  a  top,  which  runneth  round 

And  never  winneth  any  ground. 

Or  th'  dying  scion  of  a  vine 

That  rather  breaks  than  it  will  twine; 

Or  th'  sightless  mole  whose  life  is  spent 

Divided  from  her  element; 

Or  plants  removed  from  Tagus'  shore. 

Who  never  bloom  nor  blossom  more; 

Or  dark  Cimmerians  who  delight 

In  shady  shroud  of  pitchy  night; 

Or  mopping  apes  who  are  possest 

Their  cubs  are  ever  prettiest: 

So  he  who  makes  his  own  opinion 

To  be  his  one  and  only  minion. 

Nor  will  incline  in  any  season 

To  th'  weight  of  proof  or  strength  of  reason. 

But  prefers  Will  precipitate 

'Fore  Judgment  that's  deliberate; 

He  ne'er  shall  lodge  within  my  roof 

Till,  rectified  by  due  reproof. 

He  labour  to  reform  this  ill 

By  giving  way  to  others'  will. 

(Taken  from  Poems,  Chiefly  Lyrical,  from  Romances  and  Prose- 
Tracts  of  the  Elizabethan  Age.    A.  H.  Bullen.  1890.) 

74 

1640.  The  Sack-Full  of  Newes  some  Lyes  and  some  Truths, 
Printed  at  London  by  T.  Cotes  for  F.  Grove,  and  are  to  be 

sold  at  his  Shop  on  Snow  Hill,  neare  the  Saracins  head.  1640. 

8vo.    Black  letter. 

,   1673.  12mo.  Black  letter.  British  Museum.  1861.  Halliwell. 


106  ELIZABETHAN  TRANSLATIONS 


Reprinted  in  Old  English  Jest-Boohs,  by  W.  Carew  Hazlitt. 
London.    1866.  12mo. 

The  Sack-Full  of  Newes  was  first  printed  before  1575,  for 
Robert  Laneham,  in  his  Letter  from  Kenilworth,  of  that  year, 
tells  us  that  it  was  in  the  library  of  his  friend,  the  celebrated 
Captain  Cox. 

It  is  a  *  sackf uU '  of  twenty-two  jests. 

One  story  is  from  Boccaccio,  the  popular  Seventh  Novel  of 
the  Seventh  Day,  of  the  Decameron.  Compare  A  C.  Mery 
Talys,  No.  3. 

Another  story  is  of  "an  Italian  which  loved  Coleworts 
well." 

It  may  be  that  this  collection  is  alluded  to  in  Westward  Hoe 
(1607),  Act  V,  Scene  3,  by  Webster  and  Dekker. 

Mabel.  Your  flesh  and  blood  is  very  well  recovered  now, 
mouse. 

Wafer.  I  know 't  is;  the  collier  has  a  sack-full  of  news  to 
empty. 

75 

1647.  The  Divell  a  married  man:  or  the  Divell  hath  met  with  his 
match. 

[London,  September  24,  1647.]  4to. 

A  translation  of  Machiavelli's  novel,  Belfagor  Arcidiavolo. 
Florence.  1549. 

Belfagor  is  a  good-humored  satire  on  marriage,  the  devil 
taking  the  ground  that  hell  is  preferable  to  his  wife's  company. 
The  comic  idea,  which  is  Slavonic  and  mediaeval,  was  treated 
almost  simultaneously  in  Italian  by  Machiavelli,  Straparola, 
and  Giovanni  Brevio.  Thackeray  revived  it  for  the  Victori- 
ans. 

A  comedy,  The  Devil  and  His  Dame,  by  William  Haughton,  is 
recorded  in  Henslowe's  Diary,  under  date,  6  March,  1600,  and 
was  acted  in  that  year.  It  was  published  in  1662,  with  the  title. 
Grim  the  Collier  of  Croydon;  or.  The  Devil  and  His  Dame. 

See  Rich  his  Farewell  to  Militarie  Profession.  1581. 


ROMANCES  IN  PROSE 


107 


76 

1652.  Choice  Novels  and  Amorous  TaleSy  written  by  the  most 
refined  Wits  of  Italy. 

1652.  8vo. 

77 

1653.  Nissena,  an  excellent  new  Romance,  Englished  from 
the  Italian,  by  an  honourable  Anti-Socordist. 

London.  1653.  [1652.]  8vo.  British  Museum, 
From  the  Italian  of  Francesco  Carmeni,  who  lived  during  the 
first  half  of  the  seventeenth  century.  Carmeni  was  secretary 
of  the  Accademia  degli  Incogniti,  at  Venice,  and  wrote  Novelle 
amorose  de*  signori  academici  incogniti.  Cremona.  1642.  8vo. 
Venice.    1651.  4to. 

78 

1654.  Dianea:  an  excellent  new  Romance.  Written  in  Italian 
by  Geo.  Francisco  Loredano  a  noble  Venetian.  In  foure  Books. 
Translated  into  English  by  Sir  Aston  Cokaine. 

London.  Printed  for  Humphrey  Moseley,  at  the  Sign  of  the 
Princes  Arms  in  St.  Pauls  Churchyard.  1654.  Svo.  British 
Museum. 

Dedicated  to  Lady  Mary  Cokayne,  Viscountess  Cullen. 

This  is  a  translation  of  La  Dianea,  by  Giovanni  Francesco 
Loredano,  the  Younger,  to  whom  "The  Author's  Epistle"  is 
inscribed.  This  Epistle  is  dated  "from  Venice,  25  Oct.,  1635," 
nineteen  years  before  the  London  edition,  but  a  note  in  An- 
thony a  Wood's  Athenae  Oxonienses  reads,  "Oldys  in  his  MS. 
Notes  to  Langbaine  says  there  was  an  edition  of  Dianea  in  Svo, 
1643." 

La  Dianea  is  a  collection  of  romances,  published  at  Venice, 
in  1636,  in  four  volumes,  quarto.  A  French  translation.  La 
Dianee,  was  made  by  Jean  Lavernhe,  and  was  printed  at  Paris, 
in  1642,  in  two  volumes,  octavo.  There  is  also  a  Latin  transla- 
tion by  Michel  Benuccio,  and  the  collection  is  said  to  have 
been  so  popular  that  it  was  often  reprinted. 


108  ELIZABETHAN  TRANSLATIONS 


Sir  Aston  Cokayne  writes,  **My  best  of  friends  colonell  Ed- 
ward Stamford,  gave  me  the  author,  and  intreated  me  to  teach 
him  om*  language." 

79 

1660.  Arnaldo,  or  the  Injured  Lover,  An  excellent  new  Ro- 
mance .  .  .  made  English  hy  T,  S,  [from  Girolamo  Brusoni.] 
London  [June].    1660.  8vo. 

Girolamo  Brusoni,  1610-1679(?),  wrote,  Le  curiosissime 
novelle  amorose  del  Cav,  B.  libri  quattro.  Con  nuaoa  aggiunta, 
251  pp. 

Venetid.    1663.    12mo.   British  Museum  (2  copies). 


n 

POETRY 


n 


POETRY 
80 

1560.  The  first  thre  Bokes  of  the  most  christid  Poet  Marcellus 
Palingenius  [Pietro  Angelo  ManzoUi]  called  the  Zodyake  of 
Lyfe;  newly  translated  out  of  latin  into  English  by  Barnabe 
Googe. 

Imprinted  at  London,  by  John  Tisdale,  for  Rafe  Newberye. 
An.  Do.  1560.    8vo.    Black  letter.    64  leaves. 

Dedicated  to  the  grandmother  of  the  translator,  Lady  Hales, 
and  to  William  Cromer,  Thomas  Honywood,  and  Ralph  Hei- 
mund.  Esquires.  Second  edition.  1561.  8vo.  Black  letter. 
170  leaves.  Six  books.  British  Museum  {'2,  copies) .  Dedicated 
to  Sir  William  Cecil,  kinsman  of  the  translator.  Third  edition. 
1565.  8vo.  Black  letter.  Twelve  books.  British  Museum. 
Also:  1576.  4to.  British  Museum.  1588.  4to.  Black  letter. 
135  leaves.    British  Museum. 

A  translation  of  — 

Marcelli  Palengenii  Stellati  Poetae  Doctissimi,  Zodiacus  vi- 
tae,  hoc  est,  de  hominis  vita,  studio,  ac  moribus  optime  instituen- 
dis,  libri  XII . 

Venice.    8vo.    Without  date,  but  about  1534. 

Dedicated  to  Ercole  d'  Este  II,  who  was  fourth  Duke  of  Fer- 
rara  and  Modena  between  1  November,  1534,  and  3  October, 
1559. 

"This  poem  is  a  general  satire  on  life,  yet  without  peevish- 
ness or  malevolence;  and  with  more  of  the  solemnity  of  the 
censor  than  the  petulance  of  the  satirist."  (Warton,  History  of 
English  Poetry ,  Section  lix.) 

Palingenius,  probably  through  Googe's  translation,  sug- 
gested to  Pope  the  well-known  lines, — 


112  ELIZABETHAN  TRANSLATIONS 


Superior  beings,  when  of  late  they  saw 
A  mortal  man  unfold  all  nature's  law. 
Admired  such  wisdom  in  an  earthly  shape. 
And  show'd  a  Newton  as  we  show  an  ape. 

Essay  on  Man,  Epistle  ii,  11.  31-34. 

The  Latin  of  Palingenius  reads :  — 

Simla  caelicolum  risusque  jocusque  deorum  est. 
Tunc  Homo,  cum  temere  ingenio  confidit,  et  audet 
Abdita  naturae  scrutari,  arcanaque  rerum; 
Cum  revera  ejus  crassa  imbecillaque  sit  mens. 

Zodiacus  Vitae,  Book  vi,  v,  186. 

The  Zodiacus  Vitae  was  a  popular  poem  in  England  during 
the  first  century  of  Protestantism.  Besides  the  five  editions 
of  Googe's  translation,  there  were  five  London  editions  of  the 
Latin  original  between  1574  and  1639.  Marcellus  Palingenius 
is  an  anagram  of  Pietro  Angelo  ManzoUi.  See  M.  Palingenii 
.  .  .  Zodiacus  Vitae. 

81 

[1565?]  The  tryumphes  of  Fraunces  Petrarcke,  translated  out 
of  Italian  into  Englishe  by  Henry  Parker  Knyght,  Lord  Morley. 

(  of  Loue 
\  of  Chastitie 

Thetryumphe  /^^f^^ 

\  of  Tyme 
(  of  Diuinity. 

[Colophon.]  Printed  at  London  in  Powles  churchyarde  at 
the  sygne  of  the  holy  Ghost,  by  John  Cawood,  Prynter  to  the 
Queues  hyghnes.  Cura  priuilegio  Regiae  Maiestatis.  n.  d. 
[1565?]  4to.  Black  letter.  52  leaves.  British  Museum  cop- 
ies). Bodleian. 

Reprinted  by  Stafford  Henry,  Earl  of  Iddesleigh.  1887. 
4to.    Roxburghe  Club. 

The  dedication,  "Unto  the  mooste  towardely  yonge  gentle 
Lorde  Maltrauers,  sonne  and  heyre  apparant  to  the  worthy  and 
noble  Earle  of  Arundel,"  is  subscribed,  "Dixi  Henry  Morelye." 


POETRY 


113 


At  the  end  the  translator  furnishes  an  original  poem,  Vyrgyll 
in  his  Epigrames  of  Cupide  and  DronJcenesse,  in  8-line  stanzas, 
and  his  own  Epitaph  in  Latin,  with  an  English  version.  The 
Dictionary  of  National  Biography  says  that  John  Cawood  was 
printer  to  Queen  Mary,  which  might  date  the  Tryumphes  for- 
ward to  at  least  1553. 

Morley's  translation  is  in  irregular  and  uncouth  verse,  and 
is  not  very  faithful  to  the  original. 

Lord  Morley  left  a  number  of  manuscript  translations, 
among  them,  from  Italian  literature:  — 

Life  of  TheseuSy  from  the  Latin  of  Lapo  di  Castiglionchio,  ded- 
icated to  Henry  VIII.  {British  Museum.  Royal  MS.  17,  D.  ii.) 

Sdpio  and  Hannibaly  from  the  Latin  of  Donato  Acciajuoli. 
(lb.  17,  D.  xi.) 

St.  Athanasius  his  Prologue  to  the  Psalter^  from  the  Latin  of 
Angelo  Pohziano.    (76.  17,  C.  12.) 

John  de  Turre  Cremata's  (Cardinal  Juan  de  Torquemada) 
Exposition  of  the  36th  Psalm,  with  sonnets  from  the  humanist 
poet,  Maffeo  Vegio,  dedicated  to  the  Princess  Mary.  {lb.  18, 
A.  XV.) 

Masuccio's  Novella,  xlix,  Frederick  Barbarossa,  the  Pope, 
and  the  Sultan.  Dedicated  to  Henry  VIII  and  Queen  Cather- 
ine Parr.    {lb.  18,  A.  Ixii.) 

Paolo  Giovio's  Commentaries  on  the  Turks,  dedicated  to 
Henry  VIII.    {Arundel  MS.  8.) 

Petrarch's  Trionfi  is  an  apotheosis  of  Laura.  The  six  *  tri- 
umphs' are  Trionfo  d*Amore,  Trionfo  delta  Castita,  Trionfo 
delta  Morte,  Trionfo  delta  Fama,  Trionfo  del  Tempo,  and  Trionfo 
delta  Divinita  (Eternity).  It  was  the  last  work  of  Petrarch,  and 
was  completed  about  three  months  before  his  death,  July  20, 
1374.    See  The  Triumphs  of  Love,  etc.  1644. 

82 

1567.  The  Eglogs  of  the  Poet  B.  Mantuan  Carmelitan,  Turned 
into  English  Verse,  &  set  forth  with  the  Argument  to  euery  Egloge 
by  George  Turbervile  Gent.    Anno  1567. 


114  ELIZABETHAN  TRANSLATIONS 


Imprinted  at  London  in  Pater  noster  Rowe,  at  the  signe  of 
the  Marmayde,  by  Henrie  Bynneman.  8vo.  Black  letter.  98 
leaves,  including  a  leaf  of  *  Faultes '  at  the  end.  British  Muse- 
um. Also:  1572.  Svo.  Black  letter.  90  leaves.  1594.  Bvo. 
Black  letter.    90  leaves.    1597.    John  Danter. 

Dedicated  to  *Maister  Hugh  Bamfield  Esquier,'  uncle  of  the 
translator. 

Nine  of  the  ten  Eclogues  translated  into  English  fourteeners. 

The  Bucolics  of  Baptist  Mantuan  in  ten  eclogues.  Translated 
hy  T.  Harvey.  1656.  Svo.  British  Museum. 

The  original  of  these  two  translations  is  Mantuan's 

Bucolica  seu  adolescentia  in  decem  eclogas  divisa.  Mantua. 
1498. 

Giovanni  Battista  Spagnuoli,  called  Mantuanus,  1448-1516, 
who  was  a  Carmelite  monk  and  general  of  his  order,  was  highly 
thought  of  as  a  poet  in  his  own  day,  and  was  praised  by  Gi- 
raldi,  Pontano,  Pico  della  Mirandola,  and  even  by  Erasmus. 
He  was  often  compared  with  Vergil  and  even  before  his  death  a 
portrait  bust  of  him  was  set  up  in  Mantua  by  the  side  of  one 
of  the  greater  Mantuan. 

Shakspere  quotes  the  beginning  of  the  first  Eclogue,  in 
Love's  Labour's  Lost,  iv,  2,  putting  the  Latin  in  the  mouth  of  the 
schoolmaster,  Holof ernes. 

"FaustCy  precor,  gelidd  quando  pecus  omne  sub  umbra  Rumi- 
nat,  —  and  so  forth.  Ah,  good  old  Mantuan !  I  may  speak  of 
thee  as  the  traveller  doth  of  Venice :  — 

Venegia,  Venegia, 
Chi  non  te  vede,  ei  non  te  pregia. 

Old  Mantuan,  old  Mantuan!  who  understandeth  thee  not, 
loves  thee  not." 

Drake,  in  ShaJcspeare  and  his  Times  (p.  27  of  vol.  i),  says 
that  the  Eclogues  of  Mantuan  were  translated  before  Shak- 
spere's  time,  with  the  Latin  printed  on  the  opposite  page,  for 
use  in  schools. 

In  1518,  Mantuan  was  prescribed  by  statute  for  use  in  St. 
PauFs  School,  London,  and  Dr.  Samuel  Johnson  says  that 


POETRY 


115 


"Mantuan  was  read,  at  least  in  some  of  the  inferior  schools  of 
this  Kingdom,  to  the  beginning  of  the  present  century."  {Ani' 
brose  Philips^  Lives  of  the  Poets.)  A  popular  school  edition  of 
Mantuan  during  the  two  hundred  years  of  his  vogue  was  the 
commentary  of  Josse  Bade,  known  as  Jodocus  Badius  Ascen- 
tius. 

For  Mantuan's  influence  on  Spenser,  consult  C.  H.  Her- 
ford's  edition  of  The  Shepheardes  Calender  (1895).  The  best 
account  of  Mantuan  is  that  of  W.  P.  Mustard,  in  the  Introduc- 
tion to  his  The  Eclogues  of  Baptista  Mantuanus  (1911). 

83 

1576.  The  Schoolemaster,  or  Teacher  of  Table  Philosophic.  A 
most  pleasant  and  merry  companion^  wet  worthy  to  be  welcomed 
(for  a  dayly  Gheest)  not  onely  to  all  mens  boorde^  to  guyde  them 
with  moderate  <fc  holsome  dyet;  but  also  into  euery  mans  companie 
at  all  tymes,  to  recreate  their  mindes  with  honest  mirth  and  delecta- 
ble deuises:  to  sundrie  pleasant  purposes  of  pleasure  and  past- 
tyme.  Gathered  out  of  diuers,  the  best  approued  Auctours:  and 
deuided  into  foure  pithy  and  pleasant  Treatises^  as  it  may  ap- 
peare  by  the  contentes. 

Imprinted  at  London  by  Richarde  Jones:  dwelling  ouer- 
agaynst  S.  Sepulchers  Church  without  Newgate.  1576.  4to. 
Black  letter.  74  leaves.  Bodleian.  Also,  1583.  4to.  Black  let- 
ter.   68  leaves.    British  Museum  (2  copies). 

Dedicated  to  Alexander  Nowell,  Dean  of  St.  Paul's. 

The  Schoolemaster  is  a  translation  from  Macrobius*s  Satur- 
naliorum  Conviviorum,  Libri  vii,  the  Mensa  Philosophical  and 
from  other  sources,  made  by  Thomas  Twyne.  The  four 
'Treatises'  are:  — 

1.  Of  the  nature  and  quality  of  all  meats y  drinks ,  and  sauces. 

2.  Of  manners,  behauiour  and  usage  in  company. 

3.  Delectable  and  pleasant  questions  and  pretie  problems  to  be 
propounded  in  company. 

4.  Of  honest  jests y  delectable  deuises  and  pleasant  purposes. 
Among  other  stock  jests  related  by  Twyne  in  the  fourth 


116  ELIZABETHAN  TRANSLATIONS 


*  Treatise'  is  a  version  of  II  Decamerone,  ix,  2;  Levasi  una  ha- 
dessa  in  fretta.  See  Warner,  Albion* s  England,  Book  v,  Chapter 
XXVII.  Also,  II  Decamerone,  vii,  5,  Un  geloso  in  forma  di  prete 
confessa  la  moglie. 

Twyne's  Table  Philosophie  is  a  sort  of  handbook  of  mirth  and 
manners,  "to  be  used  among  companie  for  dehght  and  recrea- 
tion at  all  times,  but  especially  at  meale  times  at  the  table." 

[1581.]  The  'EfcaTOfiTradLay  or  Passionate  Centurie  of  Loue, 
Diuided  into  two  parts:  whereof,  the  first  expresseth  the  Authors 
sufferance  in  Loue:  the  latter,  his  long  farewell  to  Loue  and  all  his 
tyrannie.  Composed  by  Thomas  Watson  Gentleman;  and  pub- 
lished at  the  request  of  certaine  Gentlemen  his  very  frendes. 

London.  Imprinted  by  John  Wolfe  for  Gabriell  Cawood, 
dwellinge  in  Paules  Churchyard  at  the  Signe  of  the  Holy  Ghost. 
[1581.]  4to.  Reprinted  for  the  Spenser  Society.  1869.  4to. 
British  Museum.  By  Edward  Arber  (English  Reprints).  1870. 
12mo. 

Dedicated  "To  the  Right  Honorable  my  very  good  Lord 
Edward  de  Vere,  Earle  of  Oxenford,  Vicount  Bulbecke,  Lord 
of  Escales,  and  Badlesmere,  and  Lord  High  Chamberlaine  of 
England,  all  happinesse." 

Watson  introduces  each  *  Passion '  with  a  brief  explanatory 
note  in  which  he  carefully  acknowledges  his  indebtedness  to 
other  writers,  if  any  obtains,  and  sets  forth  what  variations  he 
has  made  in  the  form.  The  Italian  poets  drawn  upon,  besides 
Petrarch,  are  Messer  Agnolo  Firenzuola,  Girolamo  Parabosco, 
Eneo  Silvio  Piccolomini  (Pope  Pius  II),  Serafino  d'Aquila 
(Aquilano),  Ercole  Strozzi,  and  Giovanni  Pontano.  It  should 
be  noted  that,  although  the  poems  are  sometimes  called  *  son- 
nets,' they  are  not  sonnets  strictly  speaking.  Each  Passion 
consists  of  eighteen  lines,  divided  into  three  six-line  stanzas,  a 
quatrain  followed  by  a  couplet.  Passions  vi,  lxvi,  and  xc  are 
done  into  Latin  hexameters. 

"The  Authors  sufferance  in  Loue"  (Part  i)  is  described  at 


POETRY 


117 


length  in  a  wreath  of  eighty  *  Passions,'  while  "My  Loue  is 
Past"  (Part  ii)  is  hurried  over  in  the  last  twenty. 

Passion  v 

If 't  bee  not  loue  I  feele,  what  is  it  then? 

Except  verses  eleven  and  twelve,  this  Passion  is  translated 
from  Petrarch,  Sonetto  88,  parte  prima,  — 

S'  amor  non  e;  che  dunque  e  quel,  ch'  €  sento  ? 

Chaucer  gives  a  version  of  this  sonnet,  in  Troylus  and  Cry- 
seyde.  Liber  primus,  lviii  and  lix,  Cantus  Troili, 

Passion  vi 

Hoc  si  non  sit  amor,  quod  persentisco,  quid  ergo  est  ? 
The  same  sonnet  of  Petrarch  done  into  Latin. 

Passion  vii 

Harke  you  that  list  to  heare  what  sainte  I  serue? 

Partly  imitated  from  "Aeneas  Silvius,  who  setteth  down 
the  like  in  describing  Lucretia  the  loue  of  Euryalus,"  and 
partly  from  Ariosto,  Orlando  Furioso,  Canto  vii,  the  descrip- 
tion of  Alcina. 

Passion  xx 
In  time  long  past,  when  in  Dianaes  chase, 
"  In  this  passion  the  Authour  being  joyf uU  for  a  kisse,  which 
he  had  receiued  of  his  Loue,  compareth  the  same  unto  that 
kisse,  which  sometime  Venus  bestowed  upon  Aesculapius,  for 
hauing  taken  a  Bramble  out  of  her  foote,  which  pricked  her 
through  the  hidden  spitefull  deceyte  of  Diana,  by  whom  it  was 
laied  in  her  way,  as  Strozza  writeth." 

Passion  xxi 
Who  list  to  vewe  dame  Natures  cunniug  skill, 
Imitated  from  Petrarch,  Sonetto  190,  parte  prima,  — 
Chi  vuol  voder  quantunque  pud  Natura,  — 


118  ELIZABETHAN  TRANSLATIONS 

and  also  from  a  stramhotto  of  Serafino,  — 

Chi  vuol  veder  gran  cose  altiere  &  nuoue. 

Passion  xxii 

When  wert  thou  borne  sweet  Loue?  who  was  thy  sire? 
From  Serafino,  Sonetto  127,  with  variations,  "to  make  the 
rest  to  seeme  the  more  patheticall,"  — 

Quando  nascesti  amor  ?  quando  la  terra 
Se  rinueste  di  verde  e  bel  colore; 

Passion  xxiii 

Thou  Glasse,  wherein  that  Sunne  delightes  to  see 
Her  own  aspect,  whose  beams  haue  dride  my  hart, 

The  figure  of  the  burning  glass  in  the  last  couplet  is  taken 
from  Serafino  Aquilano,  — 

Che  ho  visto  ogni  qual  vetro  render  f  oca 
Quando  e  dal  Sol  percosso  in  qualche  parte. 

Passion  xxiiii 
Thou  glasse,  wherein  my  Dame  hath  such  delight. 
Imitated  still  from  Serafino's  strambotti. 

Passion  xxxii 
In  Thetis  lappe,  while  Titan  tooke  his  rest, 
Suggested  by  Ercole  Strozzi*s  Somnium. 

Passion  xxxiiii 
Ye  stately  Dames,  whose  beauties  farre  excell. 
Imitated  from  Agnolo  Firenzuola,  Sonetto  2,  — 
A  Selvaggia,  Nelle  rime  di  messer  Agnolo  Firenzuola  Fiorentino, 
Deh  le  mie  belle  donne  et  amorose. 

Passion  xxxix 
When  first  these  eyes  beheld  with  great  delight 
The  second  stanza  of  this  Passion,  — 

*  I  haue  attempted  oft  to  make  complainte,*  — 


POETRY 


119 


is  borrowed  from  the  sestet  of  Petrarch's  Sonetto  xvi,  parte 
prima,  — 

PiU  volte  gid  per  dir  le  labbra  apersi: 
Passion  xl 

X  joy  not  peace,  where  yet  no  warre  is  found; 
From  Petrarch,  Sonetto  90,  parte  prima,  — 

Pace  non  trovo,  e  non  ho  da  far  guerra; 

This  sonnet  of  Petrarch's  seems  to  have  become  to  the  EHza- 
bethans  a  typical  expression  for  the  sorrows  of  love.  TotteVs 
Miscellany  contains  two  translations  of  it,  Wyatt's  Description 
of  the  contrarious  Passions  in  a  Lover,  and  a  second  version  by 
one  of  the  "Uncertayne  Auctores."  Then  Gascoigne  tries  his 
hand  in  The  Strange  Passion  of  a  Lover.  In  Richard  Edwards's 
The  Paradise  of  Dainty  Devices,  1576,  many  lines  of  the  same 
sonnet  appear  in  a  poem  entitled.  In  Quest  of  my  Relief,  by 
R.  H.  (Richard  Hill.) 

Another  version,  — 

I  live,  and  yet  methinks  I  do  not  breathe,  — 

is  found  in  The  Second  Set  of  Madrigales  to  three,  four,  jive,  and 
six  parts  apt  both  for  Voyals  and  Voyces,  newly  composed  by  John 
Wilbye.  1609. 

Robert  Southwell,  the  poet  priest,  writing  in  prison,  What 
Joy  to  Live  (in  St.  Peter* s  Complaint),  gives  a  spiritual  signiiS- 
cance  to  the  verses;  it  is  of  another  love,  of  another  life,  that 
the  Catholic  martyr  speaks :  — 

I  wage  no  war,  yet  peace  I  none  enjoy: 
I  hope,  I  fear,  I  fry  in  freezing  cold. 

I  mount  in  mirth,  still  prostrate  in  annoy. 
I  all  the  world  embrace,  yet  nothing  hold. 

Passion  xliii 
The  Salamander  lines  in  fire  and  flame. 
From  Serafino's  strambotto,  — 

Se  Salamandra  infiamma  vine,  e  infuoco. 


120  ELIZABETHAN  TRANSLATIONS 


Passion  xlvii 

In  time  the  Bull  is  broughte  to  weare  the  yoake; 
In  time  all  haggred  Haukes  will  stoope  the  Lures; 

These  two  opening  lines  are  imitated  from  Serafino,  Sonetto 
103,— 

Col  tempo  el  Villanello  al  giogo  mena 
El  Tor  sifiero,  e  si  crudo  animate ^ 
Col  tempo  el  Falcon  s'  usa  d  m^nar  V  ale 
E  ritornare  a  te  chiamando  a  pena. 

Passion  Iv 

My  heedelesse  hart  which  Loue  yet  neuer  knew. 
Out  of  Serafino,  Sonetto  63,  — 

Come  alma  assai  hramx)sa  &  poco  accorta. 

Passion  hi 

Come  gentle  Death;  who  cals?  one  thats  opprest: 
The  first  stanza  imitates  Serafino's  stramhotto,  — 
Morte:  che  vud  ?  te  hramx):  Eccomi  appresso; 
the  second  stanza,  another  stramhotto  by  the  same  poet,  — 
AmoTy  amor:  chi  e  quel  che  ckiama  tanto  ? 

Passion  Ixi 

If  Loue  had  lost  his  shaftes,  and  loue  downe  threw 
His  thundring  boltes, 

From  Serafino,  Sonetto  125,  — 

S'  el  gran  tormento  ifierfulmini  accesi 
Perduti  hauessiy 

Passion  Ixv 

Who  knoweth  not,  how  often  Venus  sonne 
Hath  forced  Juppiter  to  leaue  his  seate? 

The  last  stanza,  — 

From  out  my  Mistres  eyes,  two  lightsome  starres,  — 

is  imitated  from  Girolamo  Parabosco,  — 

Occhi  tuoi,  anzi  stelle  alm^,  &faialiy 


POETRY  121 

Passion  Ixvi 
Dum  coelum,  dum  terra  tacet,  ventusque  silescit. 
From  Petrarch,  Sonetto  cxiii,  parte  primay  — 

Or,  cW  I  del,  e  la  terra,  e'  I  vento  tace,  — 

which  Petrarch  imitated  from  Vergil's  beautiful  lines  contrast- 
ing the  hush  of  night  with  Dido's  tumult  of  soul  immediately 
before  her  suicide,  — 

Nox  erat,  et  tacitum  carpehant  fessa  soporem 
Corpora  per  terras,  silvaeque  et  saeva  quierant 
AeqiLora,  quum  medio  volvuntur  sidera  lapsu, 
Quum  tacet  omnis  ager; 

AeneidoSy  Lib.  iv,  5^2-25. 

Passion  Ixxi 

Alas  deere  Titus  mine,  my  auncient  frend, 

"The  Authour  writeth  this  Sonnet  unto  his  very  friend,  call- 
ing him  by  the  name  of  Titus,  as  if  him  selfe  were  Gysippus." 
The  allusion  is  to  Boccaccio,  11  Decamerone,  x,  8. 

Passion  Ixxvii 
Time  wasteth  yeeres,  and  month's,  and  howr's: 
Out  of  Serafino,  Sonetto  132,  — 

Col  tempo  passa  gli  anni,  i  mesi,  e  V  hore. 

Passion  Ixxviii 
What  scowling  cloudes  haue  ouercast  the  skie,  ' 
Imitated  from  Agnolo  Firenzuola,  — 

0  belle  donne,  prendam  pietade. 

Passion  Ixxxv  (of  My  Love  is  Past) 

The  souldiar  worne  with  warres,  delightes  in  peace; 

From  the  Latin  of  Ercole  Strozzi,  — 

XJnda  hie  sunt  Lachrimae,  Venti  suspiria,  Remi 
Vota,  Error  velum.  Mens  malesana  Ratis. 


m  ELIZABETHAN  TRANSLATIONS 

Passion  Ixxxvi 

Sweete  liberty  restores  my  woouted  joy. 

Based  on  a  letter  written  by  Aeneas  Silvius  to  a  friend  re- 
penting of  having  "published  the  wanton  loue  of  Lucretia  and 
Euryalus/' 

Passion  Ixxxix 

Loue  hath  delight  in  sweete  delicious  fare; 

This  passion  is  made  up  of  sentential  verses,  mostly  from 
classical  authors,  but  the  ninth  verse  renders  Pontano's 

Si  vacuum  sineret  perfidious  amor, 

Loue  thinkes  in  breach  of  faith  there  is  no  fault. 

Passion  xc 

Me  sibi  ter  hinos  annos  unumque  suhegit 
Dinus  Amor; 

A  paraphrastic  translation  of  Petrarch,  Sonetto  84,  parte 
seconda,  — 

Tennemi  Amor  anni  ventuno  ardendo, 
Lieto  nelfocoy 

Passion  xci 
Ye  captiue  soules  of  blindefold  Cyprians  boate. 
Imitated  from  Agnolo  Firenzuola,  — 
0  miseri  coloro, 

Che  nan  prouar  di  donna  fede  mai: 

Firenzuola  had  already  imitated  Horace,  Liber  i,  Carmen  v, 
Ad  Pyrrham,  — 

Miseri,  quihus 

Intentata  nites  !  Me  iabida  sacer 
Votiva  paries  indicat  uvida 

Suspendisse  potenti 

Vestimenta  maris  deo. 


POETRY 


123 


Passion  xciii 
My  loue  is  past,  woe  woorth  the  day  and  liow*r 

The  intricate  poetical  form  of  this  Passion,  in  which  the 
second  and  third  stanzas  exactly  follow  the  first  as  to  first  and 
last  syllables  throughout,  is  copied  from  the  Italian  poets. 

Passion  xciiii 
I  Curse  the  time,  wherein  these  lips  of  mine 
From  Serafino,  — 

Biastemo  quando  mai  le  labbra  apersi 

Passion  xcix 
The  haughtie  Aegle  Birde,  of  Birdes  the  best. 

From  Serafino,  Sonetto  1,  *'&  grownded  upon  that,  which 
Aristotle  writeth  of  the  Aegle,  for  the  proofe  she  maketh  of  her 
birdes,  by  setting  them  to  behold  the  Sonne.  After  whom 
Pliny  hath  written,  as  foloweth."  {Naturalis  Historia,  Lib.  30, 
Cap.  1.) 

Passion  c 

Resolu'd  to  dust  intomb'd  heere  lieth  Loue, 
Imitated  from  Girolamo  Parabosco's  Epitaph  of  Loue,  — 

In  cenere  giace  qui  sepolto  Amorey 
The  epilogue,  "more  like  a praier  than  a  Passion,"  — 

Lugeo  iam  querulus  vitae  tot  liistra  perada,  — 

is  "faithfully  translated  out  of  Petrarch,"  Sonetto  85,  parte 
secondo,  — 

/  vd  piangendo  i  miei  passati  tempi, 

Thomas  Watson,  1557(?)-1592,  was  a  poet  of  rare  gifts  who 
had  the  singular  fortune  of  being  named  among  the  first  by  his 
contemporaries,  and  of  being  consigned  to  oblivion  almost  im- 
mediately afterwards.  He  was  a  close  student  of  French  and 
Italian  poetry,  trying  his  *prentis  han*'  by  turning  Petrarch's 


124  ELIZABETHAN  TRANSLATIONS 


sonnets  into  Latin  and  writing  a  Latin  poem  called  De  Remedio 
Amoris.  Besides  Amyntas,  Amintce  Gaudia,  and  the  Passionate 
Centurie  of  Loue,  which  belong  to  this  study  of  the  influence  of 
Italian  poetry  in  English,  he  wrote  MelihoBus,  an  elegy  on  the 
death  of  his  patron,  Sir  Francis  Walsingham  (1590),  prudently 
translating  it  himself  under  the  title.  An  Eclogue  upon  the 
Death  of  the  Right  Honorable  Sir  Francis  Walsingham^  late 
principall  Secretarie  to  her  Maiestie,  and  of  her  most  Honourable 
Privie  Councell. 

Gabriel  Harvey,  in  Piercers  Supererogation  (1593),  mentions 
Watson  as  "a  learned  and  gallant  gentleman,  a  notable  poet." 

Thomas  Nash,  replying  to  Harvey,  in  Have  with  you  to  Saf- 
fron W olden  (1596),  says,  "A  man  he  was  that  I  dearely  lov'd 
and  honor'd,  and  for  all  things  hath  left  few  his  equalls  in  Eng- 
land." 

Francis  Meres,  in  Palladis  Tamia:  Wits  Treasury  (1598), 
after  speaking  highly  of  Watson  as  a  Latinist,  goes  on,  —  "  as 
Italy  had  Dante,  Boccace,  Petrarch,  Tasso,  Celiano,  and  Ari- 
osto,  so  England  had  Matthew  Roydon,  Thomas  Atchelow, 
Thomas  Watson,  Thomas  Kyd,  Robert  Greene,  and  George 
Peele." 

England's  Parnassus,  edited  in  1600,  by  Robert  Allott,  gives 
twelve  extracts  from  Watson,  all  from  the  *  ^KaroixiraOCa  (He- 
catompathia) .  In  Francis  Davison's  A  Poetical  Rapsody  (1602), 
ten  poems  are  quoted  from  the  *  ^KaTo^iradCa. 

The  Spenser  Society's  fine  edition  of  the  Passionate  Centurie 
of  Loue  (1869),  together  with  Mr.  Arber's  appreciative  reprint 
of  this  and  the  other  poems  in  the  following  year,  have  brought 
him  once  more  into  notice. 

Palgrave,  in  reviewing  the  Arber  reprint,  puts  Watson  in  the 
first  rank  of  the  Elizabethan  "Amourists,"  below  Sidney,  but 
above  Spenser. 

See  "Thomas  Watson  the  Poet,"  F.  T.  Palgrave,  The  North 
American  Review,  January,  1872,  no.  ccxxxiv. 


POETRY 


125 


85 

1585.  Amyntas  Thomae  Watsoni  Londinensis,  L  V.  Studiosi. 
Nemini  datur  amare  simul  et  sapere. 

Excudebat  Henricus  Marshy  ex  assignatione  Thomae  Marsh. 
1585.  8vo.  (12mo.  Hazlitt.  16mo.  Arber.)  27  leaves.  British 
Museum. 

Dedicated,  *  Henrico  NoelW  and  ^  Ad  Lectorem.* 

Amyntas  and  Amintoe  Gaudia  (1592)  are  Latin  elegiac 
eclogues,  after  the  manner  of  Petrarch  in  his  Latin  pastorals, 
and  of  the  once  famous  Mantuan  through  whom  the  traditions 
of  English  pastoral  poetry  really  descend. 

A  translation,  in  Latin  hexameters,  of  Tasso's  Aminta.  In 
1587,  Abraham  Fraunce  published  an  unauthorized  translation 
of  Watson's  work,  entitled  The  Lamentations  of  Amyntas  for  the 
Death  of  Phillis.  Fraunce*s  English  elegiacs  proved  to  be  more 
popular  than  Watson's  Latin  ones,  coming  to  four  editions  by 
1591.  In  his  fourth  edition  of  that  year.  The  Countesse  of  Pern- 
brokes  Ivy  churchy  Fraunce  tardily  acknowledged  his  indebted- 
ness. Possibly  he  may  have  been  moved  to  confess  his  soul  by 
a  gentle  jog  from  Watson,  who,  in  1590,  was  careful  to  trans- 
late for  himself  his  Latin  elegy  on  the  death  of  Sir  Francis  Wal- 
singham,  observing,  "I  interpret  myself,  lest  Meliboeus,  in 
speaking  English  by  another  man's  labour,  should  leese  my 
name  in  his  chaunge  as  my  Amyntas  did." 

In  The  Phcenix  Nest  (1593),  there  are  three  previously  un- 
published poems  by  "T.  W.  Gent,"  of  which  the  first  one  is  an 
English  rendering  of  a  passage  from  Amyntas. 

Henry  Noel  was  a  court  gallant  and  gentleman  pensioner  of 
Queen  Elizabeth.  Fuller  (Worthies  of  England^  ii,  p.  243,  ed. 
1840)  describes  him  as  "for  person,  parentage,  grace,  gesture, 
valour,  and  many  other  excellent  parts  (amongst  which  skill  in 
music)  among  the  first  rank  at  Court.  And  though  his  lands 
and  livelihood  were  small,  having  nothing  known  certain  but 
his  annuity  and  pension  as  gentleman  to  queen  Elizabeth,  yet 
in  state,  pomp,  magnificence,  and  expences  did  ever  equalize 


126  ELIZABETHAN  TRANSLATIONS 


the  barons  of  great  worth.  If  any  demand  whence  this  pro- 
ceeded, the  Spanish  proverb  answers  him,  — 

*  That  which  cometh  from  above,  let  no  man  question.' " 
Henry  Noel  died  February  26,  1596-97,  it  is  said  from  a 
*  calenture,'  or  burning  fever,  due  to  over-exertion  in  a  compe- 
tition with  an  Italian  gentleman  at  the  game  called  balonne 
[balloon],  *a  kind  of  play  with  a  great  ball  tossed  with  wooden 
braces  upon  the  arm.'  He  was  buried,  by  Elizabeth's  order, 
in  St.  Andrew's  Chapel,  Westminster  Abbey.  Walpole  gives 
Queen  Elizabeth's  rebus  on  his  name,  — 

The  word  of  denial  and  letter  of  fifty 

Is  that  gentleman's  name  that  will  never  be  thrifty. 

Royal  and  Noble  Authors,  Vol.  i,  p.  85. 

Thomas  Morley  composed  a  madrigal  to  his  memory:  — 
A  reverend  memorial  of  that  honorable  true  gentleman, 
Henry  Noel  Esquire. 

Hark!  Hallelujah!  cheerly 
With  angels  now  he  singeth, 
That  here  loved  music  dearly; 

Whose  echo  Heaven  ringeth. 
Where  thousand  cherubs  hover 

About  the  eternal  Mover. 
Canzonets  or  little  short  Aers  to  five  and  sixe  Voyces.  1597. 

See  Fraunce's  The  Lamentations  of  Amyntas  for  the  Death  of 
Phillis,  1587,  and  The  Countesse  of  Pembrokes  Ivychurch,  Part 
II,  Phillis  Funeraly  1591. 

86 

1586.  Albio7is  England.  Or  Historical  Map  of  the  same 
Island:  prosecuted  from  the  Hues  Actes  and  Labors  of  Saturne, 
Jupiter,  Hercules,  and  Aeneas:  Originalles  of  the  Bruton,  and 
Englishmen,  and  occasion  of  the  Brutons  their  first  aryvall  in 
Albion.  Containing  the  same  Historic  unto  the  Tribute  to  the 
Romaines,  Entrie  of  the  Saxones,  Invasion  by  the  Danes,  and 
Conquest  by  the  Normaines.  With  Historicall  Intermixtures,  In- 
uention,  and  Varietie  proffitably,  briefly  and  pleasantly,  per- 
formed in  Verse  and  Prose  by  William  Warner, 


POETRY 


127 


Imprinted  at  London  by  George  Robinson  for  Thomas  Cad- 
man,  dwelling  at  the  great  North-doore  of  S.  Paules  Church  at 
the  signe  of  the  Byble.  [Colophon.]  Imprinted  at  London  by 
George  Robinson  for  Thomas  Cadman.  Anno  Do.  1586.  4to. 
65  leaves.  Also:  1589.  4to.  Black  letter.  British  Museum. 
1592.  4to.  Black  letter.  British  Museum.  (Dedicated  to 
Henry  Carey,  Lord  Hunsdon.)  1596.  4to.  176  leaves.  British 
Museum.  1597.  4to.  176  leaves.  British  Museum  (2  copies). 
1602.  4to.  252  leaves.  British  Museum.  (First  complete  edi- 
tion, in  13  Books;  2  copies.)  1606.  4to.  {A  Continuance  of 
Albions  England^  dedicated  to  Sir  Edward  Coke.)  1612.  4to. 
British  Museum.    (Last  edition.) 

Three  stanzas  of  Book  v.  Chapter  xxvii,  of  Albions  Eng- 
landy  very  unexpectedly  render  into  English  //  Decameroney  ix, 
2;  Levasiunabadessainfretta.  SeeTwynes  The  Schoolemastery 
1576. 

87 

1587.  The  Lamentations  of  Amyntas  for  the  Death  of  Phillis: 
Paraphrastically  translated  out  of  Latine  into  English  Hexa- 
meter Sy  by  Abraham  Frauncey  Newelie  Corrected. 

London.  Printed  by  John  Charlewood  for  Thomas  New- 
man and  Thomas  Gubbin.  Anno  Dom.  1588.  4to.  20  leaves. 
Also:  1587.    4to.    Bodleian.    1589.    4to.    1596.  4to. 

The  1588  edition,  whose  title  is  here  given,  was  in  the  Huth 
Library.  The  British  Museum  acquired  (1894)  the  only  known 
copy  of  the  1596  edition.  It  was  discovered  in  a  collection  of 
rare  English  books,  chiefly  of  belles-lettres y  of  the  time  of  Eliza- 
beth and  James  I,  in  1867,  by  Mr.  C.  Edmonds,  at  Lamport 
Hall,  Northamptonshire,  the  seat  of  Sir  Charles  Isham,  Bart. 
{The  Academyy  August  10,  1895.) 

Dedicated  to  Mary  Sidney,  Countess  of  Pembroke. 

This  is  a  translation  of  Amyntas  Thomae  Watsoni  (1585). 
It  is  in  the  form  of  eleven  eclogues  each  called  a  *day.'  Thomas 
Nash,  in  the  preface  of  Greene's  MenaphoUy  speaks  of  The 
Lamentations  as  "the  excellent  translation  of  Master  Thomas 


128  ELIZABETHAN  TRANSLATIONS 


Watsons  sugared  Amyntas  by  sweet  Master  France."  But  in 
Have  with  you  to  Saffron  Walden  (1596)  Nash  characterizes  the 
EngHsh  hexameter  as  '*that  drunken  staggering  kind  of  verse, 
which  is  all  up  hill  and  down  hill,  like  the  way  betwixt  Stam- 
ford and  Beechfield,  and  goes  like  a  horse  plunging  through 
the  mire  in  the  deep  of  winter,  now  soust  up  to  the  saddle,  and 
straight  aloft  on  his  tip-toes." 

See  Watson's  Amyntas  (1585),  and  Fraimce's  The  Countesse 
of  Pembrokes  Ivychurch  (Part  ii,  1591). 

88 

1588.  Musica  Transalpina,  Alius.  Madrigales  translated  of 
foure,  flue  and  sixe  parts,  chosen  out  of  diuers  excellent  Authors, 
with  the  first  and  second  part  of  La  Verginella,  made  by  Maister 
Byrdy  upon  two  Stanz's  of  Ariosto,  and  brought  to  speake  Eng- 
lish with  the  rest.  Published  by  N.  Yonge,  in  fauour  of  such  as 
take  pleasure  in  musicke  of  voices. 

Imprinted  at  London  by  Thomas  East,  the  assigne  of 
William  Byrd,  1588.  Cum  Priuilegio  Regies  Maiestatis. 
6  parts.    4to.    Fifty-seven  songs. 

Reprinted  in  Arber's  An  English  Garner.  Vol.  iii.  1895. 
Also,  in  An  English  Garner.  Shorter  Elizabethan  Poems.  With 
an  Introduction  by  A.  H.  Bullen.  1903. 

In  1843,  G.  W.  Budd  began  a  complete  edition  of  Musica 
Transalpina  in  score,  but  issued  only  six  of  the  eighty-one 
pieces. 

Dedicated  to  Gilbert  Talbot,  afterwards  seventh  Earl  of 
Shrewsbury. 

"I  had  the  hap,"  says  Yonge,  "to  find  in  the  hands  of  some 
of  my  good  friends  certaine  Italian  Madrigales  translated  most 
of  them  five  years  ago  by  a  gentleman  for  his  private  delight." 
Nothing  is  known  of  the  translator,  who  is  very  literal.  Thomas 
Oliphant,  in  La  Musa  Madrigalesca  (p.  41),  infers  that  Nich- 
olas Yonge  was  a  music  teacher,  who  had  "  a  sort  of  harmonic 
club"  at  his  house,  in  the  parish  of  St.  Michael,  Cornhill. 

Of  the  fiifty-seven  madrigals,  sixteen  are  by  Ferrabosco,  ten 


POETRY 


129 


by  Marenzio,  five  each  by  Palestrina  and  Filippo  di  Monte, 
three  by  Conversi,  two  each  by  Byrd,  Faignient,  Donato, 
Orlando  di  Lasso,  Ferretti,  and  Felis,  and  one  each  by  de 
Macque,  Pordenone,  de  Weert,  Verdonck,  Rinaldo  del  Mel, 
Bertani,  and  Pinello.  In  the  table  of  contents  the  original 
initial  Italian  words  are  given  side  by  side  with  the  English. 

Oliphant  notes  the  Italian  originals  of  ten  madrigals  of  the 
First  Book.  Two  madrigals  of  Musica  Transalpina  were  pub- 
lished in  England's  Helicon^  1600.  (Edited  by  A.  H.  BuUen, 
1899.)  One  of  them  is  Marenzio 's  Thyrsis  to  die  desired.  The 
other  one,  Zephyrus  brings  the  time  that  sweetly  scenteth,  set  to 
music  by  Geronimo  Conversi  and  Alfonso  Ferrabosco  (1580), 
translates  the  octave  of  Petrarch's  Sonetto  xlii.  In  Morte  di 
M.  Lauray  Zefiro  torna,  e  7  bel  tempo  rimena. 

Another  translation  of  Petrarch's  madrigal  was  made  by 
Thomas  Watson  for  the  music  of  Luca  Marenzio.  See  The 
first  sett  of  Italian  Madrigalls  Englishedy  etc.  1590. 

La  Verginella 
I 

The  fayre  yong  virgin  is  like  the  rose  untainted. 
In  garden  faire  while  tender  stalk  doth  beare  it; 

Sole  and  untoucht,  with  no  resort  acquainted. 

No  shepherd  nor  his  flock  doth  once  come  neere  it: 

Th'  ayre  full  of  sweetnesse,  the  morning  fresh  depainted. 
The  earth  the  water  with  all  their  fauours  cheer  it: 

Daintie  yong  gallants,  and  ladyes  most  desired. 

Delight  to  haue  therewith  their  head  and  breasts  attyred. 

II 

But  not  soone  from  greene  stock  where  it  growed. 
The  same  is  pluckt  and  from  the  same  remoued; 

As  lost  is  all  from  heauen  and  earth  that  flowed. 
Both  fauour  grace  and  beauty  best  beloued: 

The  virgin  faire  that  hath  the  flower  bestowed. 
Which  more  than  life  to  gard  it  her  behowed, 

Loseth  hir  praise,  and  is  no  more  desired 
Of  those  that  late  unto  hir  loue  aspired. 


130  ELIZABETHAN  TRANSLATIONS 


La  Verginella  is  of  more  than  passing  interest,  quite  apart 
from  its  sentiment  and  grace  of  expression,  because  it  is  proba- 
bly the  earliest  English  madrigal.  It  is  a  literal  translation 
from  CatuUus's  Epithalamium,  lxii,  39-47 :  — 

Virgines,   Ut  fios  in  septis  secretus  nascitur  hortis,  etc. 
Catullus  Veronenis  Liher.   Ed.  Arthur  Palmer,  1896,  pp.  37-38. 

William  Byrd,  1538(?)-1623,  the  composer,  shared  with 
Thomas  Tallis  the  honorary  post  of  organist  to  the  Chapel 
Royal.  Although  royal  organist  through  the  national  change 
of  religion,  he  remained  a  Roman  Catholic,  and  composed 
many  church  services,  among  them  the  celebrated  canon  and 
grace  after  meat,  Non  nobis,  Domine,  traditionally  said  to  be 
preserved  in  the  Vatican  engraved  on  a  golden  plate. 

Musica  Transalpina,  Cantus.  The  Seconde  Booke  of  Madri- 
galleSy  to  5  &  6  voices:  translated  out  of  sundrie  Italian  Authors 
&  Newly  published  by  Nicholas  Yonge. 

At  London.  Printed  by  Thomas  Este.  1597.  4to.  6  parts. 
Twenty-four  songs. 

Dedicated,  "To  the  Right  Worshipful  and  true  lover  of 
Musicke,  Sir  Henry  Lennard,  Knight." 

There  is  nothing  in  the  dedication  to  indicate  who  the  trans- 
lator was.  From  the  style  of  versification,  Oliphant  {La 
Musa  Madrigalesca,  p.  50)  supposes  him  to  be  the  same  un- 
known gentleman  who  translated  the  madrigals  of  Book  i. 
The  English  words  are  almost  literal  translations,  and  are 
generally  well  fitted  to  the  notes,  but  as  verses  they  are  singu- 
larly crude.  Of  the  twenty-four  madrigals,  six  are  by  Ferra- 
bosco,  three  each  by  Marenzio,  Croce,  and  Quintiani,  two  each 
by  Eremita  and  Pallavicino,  and  one  each  by  Vecchi,  Nanini, 
Venturi,  Feliciano,  and  Bicci. 

For  one  madrigal  of  the  Seconde  Booke,  Nel  piufiorif  Aprile, 
Luca  Marenzio  composed  beautiful  music,  which  Thomas 
Oliphant  adapted  to  modern  English  words,  — 
When  April  deck'd  in  roses  gay. 
Leads  on  the  cheerful  spring. 

Another  lyric  of  the  same  book,  translated  from  Guarini 


POETRY 


131 


and  set  to  music  by  Luca  Marenzio,  is  in  every  way  charm- 
ing, 

So  saith  my  fair  and  beautiful  Licoris,  when  now 

and  then  she  talketh 
With  me  of  loue;  loue  is  a  sprite  that  walketh, 
That  soars  and  flies,  and  none  ahue  can  hold  him, 
Nor  touch  him,  nor  behold  him; 
Yet  when  her  eyes  she  turneth, 
I  spy  where  he  sojourneth; 

In  her  eyes,  there  he  flies; 

But  none  can  touch  him. 

Till  on  her  lips  he  couch  him; 

But  none  can  catch  him. 

Till  from  her  lips  he  fetch  him. 

Censura  Literaria,  Vol.  ix,  p.  5  (Ed.  1809). 

Grove  (Dictionary  of  Music  and  Musicians)  says  that  the 
word  *  madrigal '  was  first  used  in  English  in  the  title  of  Musica 
Transalpina.  The  fact  is  of  interest  as  showing  incidentally 
the  epoch-making  character  of  this  song-book.  It  introduced 
to  the  English  people  Felice  Anerio  and  Giovanni  Croce,  Pal- 
estrina  and  Luca  Marenzio.  Two  years  later,  Thomas  Watson, 
the  poet,  Englished  twenty-three  of  Marenzio's  madrigals, 
"not  to  the  sense  of  the  original  dittie,  but  after  the  affection 
of  the  noate."  After  Watson,  the  strain  of  song  and  verse 
developed  along  two  distinct  lines;  musically,  out  of  the  madri- 
gal and  the  song-books  came  that  peculiarly  English  product, 
the  glee,  while  poetry,  still  singing,  but  freed  from  the  "sense 
of  the  original  dittie,"  flowered  forth  into  the  Elizabethan  lyric, 
with  its  infinite  variety  of  songs,  sonnets,  madrigals,  pastorals, 
idyls,  eclogues,  ballads,  roundelays,  ditties,  catches,  jigs,  and 
brawls. 

89 

1590.  The  first  sett  of  Italian  Madrigalls  Englished,  not  to  the 
sense  of  the  original  dittie,  but  after  the  affection  of  the  Noate.  By 
Thomas  Watson,  Gentleman.  There  are  also  heere  inserted  two 
excellent  Madrigalls  of  Master  William  Byrds,  composed  after  the 
Italian  vaine,  at  the  requeste  of  the  sayd  Thomas  Watson. 


132  ELIZABETHAN  TRANSLATIONS 


Imprinted  at  London  by  Thomas  Este,  the  assigne  of  Wil- 
liam Byrd,  &  are  to  be  sold  at  the  house  of  the  sayd  T.  Este, 
being  in  Aldersgate  street,  at  the  signe  of  the  Black  Horse. 
1590.  Cum  priuilegio  Regies  Maiestatis.  Six  parts.  4to.  British 
Museum,  The  separate  parts  have  separate  title-pages,  headed 
respectively,  *Superius,'  *  Tenor,'  *  Contra-Tenor,'  *Bassus,' 
and  *Sextus.' 

Before  each  part  is  placed  a  dedication  by  Watson  in  Latin 
elegiacs  to  Robert  Devereux,  Earl  of  Essex,  and  on  the  back 
of  the  title  there  is  another  inscription  in  Latin  verse  to  a 
musical  friend,  Luca  Marenzio,  the  author  of  the  harmony, 
which  Watson,  in  his  lines  to  Essex,  describes  as  Marenzaeos 
cantus."  Luca  Marenzio,  a  Venetian  composer,  was  the  greatest 
madrigal  writer  of  the  time.  Twenty-three  of  the  twenty-eight 
madrigals  here  translated  are  his. 

The  "two  excellent  Madrigalls  of  Master  William  Byrds" 
are  two  settings,  for  four  and  six  voices,  of  the  song  which 
Thomas  Oliphant  attributes  to  Watson  himself :  — 

I 

This  sweet  and  merry  month  of  May, 
While  nature  wantons  in  her  pryme. 

And  birds  do  sing  and  beasts  do  play. 
For  pleasure  of  the  ioyfull  time, 

I  choose  the  first  for  holy  daie. 

And  greet  Eliza  with  a  ryme; 

O  beauteous  Queene  of  second  Troy, 

Take  well  in  worth  a  simple  toy. 

Another  madrigal  alludes  to  the  death  of  Sir  Philip  Sidney: 

II 

How  long  with  vaine  complayning; 

How  long  with  dreary  teares  and  joyes  refraining; 

Shall  we  renewe  his  dying. 

Whose  happy  souU  is  flying; 

Not  in  a  place  of  sadness. 

But  of  eternall  gladnes; 

Sweet  Sydney  Hues  in  heau'n.  O!  therefore  let  our  weeping 
Be  tum'd  to  hymns  and  songs  of  plesant  greeting. 

Censura  Literariat  Vol.  ix,  p.  l^(Ed.  1809). 


POETRY 


133 


I  add  five  madrigals  from  Thomas  Oliphant's  La  Musa 
Madrigalesca:  — 

III 

O  merry  world!  when  ev'ry  lover  with  his  mate. 
Might  walk  from  mead  to  mead,  and  cheerfully  relate 
Sour  pleasures,  and  sweet  griefs;  following  a  wanton  state. 
Those  days  knew  no  suspect;  each  one  might  freely  prate. 
And  dance  and  sing  and  play  with  his  consociate. 
Then  lovers  used  like  turtles  kiss  full  lovingly. 
O  honey  days  and  customs  of  antiquity! 
But  now  the  world  so  full  is  of  fond  jealousy, 
That  charity  we  term  wanton  iniquity. 

(Music  by  Luca  Marenzio,  1570.) 

This  madrigal  is  also  set  in  Thomas  Vautor's  Songs  of  Divers 
Airs  and  Natures,  1619. 

IV 

When  all  alone  my  bonny  love  was  playing, 
And  I  saw  Phoebus  ^  stand  at  a  gaze  staying, 
Alas!  I  feared  there  would  be  some  betraying. 

(Music  by  G.  Conversi,  1575.) 

This  is  neither  translated  nor  imitated  from  the  original, 

Sola  soletta  i  me  ne  vo  cantando, 

Ed  ho  via  7  core  piu  freddo  che  giaccioy 

E  vo  d^  amor  spregiando  ogni  suo  lacdo, 

V 

Fair  shepherd's  Queen! 

Let 's  hand  in  hand  enchained, 
Dance  up  and  down  the  green 

Like  friends  unfeigned; 
And  merrily  recount 

Our  happy  days. 
While  climbing  up  the  mount. 

My  tender  flock  unheeded  strays. 

1  When  he  stayeth  to  look  at  any  thing,  then  he  standeth  at  gaze. 

The  Noble  Art  of  Venerie  or  Hunting,  by  G.  Turberville,  1575. 
I  saw  Phoebus  thrust  out  his  golden  hedde. 
Upon  her  to  gaze: 

Spenser,  The  Shepheardes  Calender.  AprUl, 
11.  73,  74. 


134  ELIZABETHAN  TRANSLATIONS 


Come,  shepherds,  follow  me. 

Praising  sweet  Amarillis: 
All  but  Amyntas, 

Whose  only  joy  is  Phillis. 

(Music  by  Luca  Marenzio,  1570.) 

The  seventh  and  eighth  lines  are  altered  by  Oliphant  from 
Watson's 

While  my  tender  flock  climbs  up  the  mount. 
And  there  stays. 

VI 

The  Fates,  alas!  too  cruel. 

Have  slain  before  his  day  Diana's  chiefest  jewel. 

But  worthy  Meliboeus  in  a  moment 

With  Astrophil  is  placed  above  the  firmament. 

Oh!  they  both  live  in  pleasure 

Where  joys  exceed  all  measure. 

(Music  by  Luca  Marenzio,  1570.) 

Diana  is  Queen  Elizabeth;  Meliboeus,  Sir  Francis  Walsing- 
ham;  and  Astrophil,  Sir  Philip  Sidney. 

vn 

All  ye  that  joy  in  wailing. 

Come  seat  yourselves  a-row,  and  weep  beside  me; 
That  while  my  life  is  failing. 

The  world  may  see  what  ills  in  love  betide  me; 
And  after  death  do  this  in  my  behove. 
Tell  Cressid,  Troilus  is  dead  for  love. 

(Music  by  G.  M.  Nanini,  1580.) 

This  madrigal  is  also  set  for  five  voices  by  Michael  Este, 
1604;  Michael  Este  (Est  or  East),  bachelor  of  Music,  was 
master  of  the  boys  of  Lichfield  Cathedral. 

"For  delicious  Aire  and  sweete  Invention  in  Madrigals, 
Luca  Marenzio  excelleth  all  other  whosoever,  having  published 
more  Sets  than  any  other  Authour  else  whosoever;  and  to  say 
truth,  hath  not  an  ill  Song,  though  sometimes  an  over-sight 
(which  might  be  the  Printers  fault)  of  two  eights  or  fiftes 
escapt  him;  as  betweene  the  Tenor  and  Base  in  the  last  close 
of,  I  must  depart  all  haplesse:  ending  according  to  the  nature  of 


POETRY 


135 


the  Ditty  most  artificially,  with  a  Minim  rest.  His  first,  second, 
and  third  parts  of  Thyrsis  [Tirsi  morir  volea]y  Veggo  dolce  mio 
ben,  Chefae  hoggi  mio  Sole  Cantava  [Che  fa  hogg^  il  miosoUy  and 
Cantava  la  piu  vaga],  or  sweet  singing  Amaryllis,  are  Songs  the 
Muses  themselves  might  not  have  been  ashamed  to  have  com- 
posed. Of  stature  and  complexion,  he  was  a  little  and  blacke 
man:  he  was  Organist  in  the  Pope's  Chappell  at  Rome  a  good 
while."  (Henry  Peacham.  The  Compleat  Gentleman.  Tudor  and 
Stuart  Library.  London,  1906,  p.  101.) 

90 

1591.  Orlando  Furioso  in  English  Heroical  Verse,  by  John 
Harington  [Sir  John  Harington]. 

[Colophon.]  Imprinted  at  London  by  Richard  Field,  dwell- 
ing in  the  Blackfriers,  by  Ludgate.  1591.  Folio.  225  leaves. 
British  Museum  (3  copies).  Also:  1607.  Folio.  British 
Museum.  1634.  Folio.  248  leaves.  British  Museum.  The  last 
edition  contains  Sir  John  Harington's  Epigrams,  printed  twice 
before,  1618  and  1625. 

Dedicated  to  Queen  Elizabeth. 

Harington's  translation  is  in  the  octave  stanza  of  Ariosto, 
and  is  magnificently  illustrated,  the  engraved  title,  by  Cock- 
son,  containing  portraits  of  Ariosto  and  of  Sir  John  Harington 
and  his  dog.  The  engravings,  although  sometimes  said  to  be 
English,  were  in  fact  printed  from  the  Italian  plates  of  Giro- 
lamo  Porro,  of  Padua,  and  had  been  used  before  in  Italy.  The 
plates  are  worn  and  unequal  in  the  editions  of  1607  and  1634. 
Stanzas  1-50  of  Book  xxxii  were  translated  by  Francis  Har- 
ington, younger  brother  to  Sir  John. 

Six  plays  may  be  referred  to  Orlando  Furioso,  five  of  them 
later  in  date  than  Sir  John  Harington's  translation :  — 

(1)  Ariodante  and  Geneuora,  acted  January  12,  1582,  before 
Queen  Elizabeth  and  her  Court. 

From  Orlando  Furioso,  Canto  v. 

(2)  The  History  of  Orlando  Furioso.   1594.   4to.  Robert 
Greene. 


136  ELIZABETHAN  TRANSLATIONS 


Founded  on  an  episode  in  Canto  xxiii.  This  play  was 
acted  at  the  Rose  in  1591,  Edward  Alleyn  taking  the  part 
of  Orlando. 

(3)  Much  Ado  About  Nothing.  1600.  4to.  Shakspere. 
The  story  of  Claudio  and  Hero  is  the  same  as  that  of 
Ariodante  and  Geneuora  in  Ariosto.  Shakspere  may  have 
taken  the  plot  from  Belleforest's  Histoires  Tragiques, 
Vol.  Ill,  based  on  Bandello,  i,  20,  the  tale  of  Don  Timbreo 
di  Cardona,  but  the  personation  of  Hero  by  Margaret  is 
probably  borrowed  from  Harington's  translation. 

(4)  The  Tempest.  1623.  Folio.  Shakspere. 

Suggests  the  shipwreck  of  Ruggiero,  the  hermit's  desert 
island,  and  the  reconciliation  between  Ruggiero  and 
Orlando.  Orlando  Furioso,  Cantos  xli  and  xliii. 

(5)  Sicelides.   1631.  4to.  Phineas  Fletcher. 

Atyches  rescuing  Olinda  from  the  ore  imitates  Orlando 
FuriosOy  Canto  x,  where  Ruggiero  delivers  Angelica 
from  the  monster. 

(6)  The  Sea  Voyage.  1647.  Folio.  John  Fletcher. 

The  commonwealth  of  women  is  traceable  to  the  Argo- 
nautic  legend  of  Hypsipyle  on  Lemnos,  reproduced  in 
Orlando  Furioso,  Canto  xx. 

91 

1591.  The  Countesse  of  Pembrokes  Ivychurch.  Conteining 
the  affectionate  life  and  unfortunate  death  of  Phillis  and  Amyn- 
tas :  That  in  a  Pastor  all ;  This  in  a  Funerall :  both  in  English 
Hexameters.  By  Abraham  Fraunce. 

London.  Printed  by  Thomas  Orwyn  for  William  Ponsonby, 
dwelling  in  Paules  Churchyard,  at  the  signe  of  the  Bishops 
head.  1591.  4to.  48  leaves.  British  Museum  (2  copies). 
Bodleian. 

Dedicated  "To  the  right  excellent,  and  most  honorable 
Ladie,  the  Ladie  Marie,  Countesse  of  Pembroke." 

Fraunce  says,  in  his  Dedicatory  Epistle,  "  I  have  somewhat 
altered  S.[ignor]  Tassoes  Italian  &  M. [aster]  Watson's  Latine 


POETRY 


137 


Amyntas  to  make  them  one  English."  The  first  part,  the 
Pastorally  as  far  as  Act  v.  Scene  2,  is  a  close  translation  of 
Tasso's  Amintay  acted  at  Ferrara  in  1573;  the  second  part, 
Phillis  Funeral,  is  a  reprint,  the  fourth  edition,  of  Fraunce's 
older  translation  of  Thomas  Watson's  Amyntas,  called  The 
Lamentations  of  Amyntas,  1587.  The  eclogues  here  are  twelve, 
the  last  one  of  the  earlier  editions  being  divided  into  two. 

The  Third  Part  of  the  Countesse  of  Pembrohes  Ivy  church: 
Entituled,  Amintas  Dale.  Wherein  are  the  most  conceited  tales 
of  the  Pagan  Gods  in  English  Hexameters:  to-g ether  with  their 
auncient  descriptions  and  Philosophical  explications.  By  Abra- 
ham Fraunce. 

At  London.  Printed  [by  Thomas  Orwyn]  for  Thomas 
Woodcocke,  dwelling  in  Paules  Church-yeard,  at  the  signe 
of  the  black  Beare.  1592.  4to.  61  leaves.  British  Museum 
(2  copies). 

Dedicated  to  the  Countess  of  Pembroke,  in  grandiloquent 
Latin  hexameters.  This  work  is  in  both  prose  and  verse,  and 
resembles  in  plan  Sir  Philip  Sidney's  Arcadia.  Abraham 
Fraunce  was  highly  esteemed  as  a  poet  by  Sir  Philip  Sidney. 

92 

1591.  Complaints,  Containing  sundrie  small  Poemes  of  the 
Worlds  Vanitie.  Whereof  the  nexte  Page  maketh  mention.  By 
Ed.  Sp. 

London.  Imprinted  for  William  Ponsonbie,  dwelling  in 
Paules  Churchyard  at  the  signe  of  the  Bishops  head.  1591. 
4to.  91  leaves.  British  Museum  (3  copies).  Bodleian.  1882. 
8vo.  The  Complete  Works  in  Verse  and  Prose  of  Edmund 
Spenser,  Vol.  iii  (Grosart). 

This  is  a  miscellaneous  collection  of  poems  put  forth  by 
Spenser's  publisher  a  year  after  the  appearance  of  the  first 
three  books  of  The  Faerie  Queene. 

The  "sundrie  small  Poemes"  are:  — 

1.  The  Ruines  of  Time;  dedicated  to  the  Countess  of  Pem- 
broke. 


138  ELIZABETHAN  TRANSLATIONS 


2.  The  Teares  of  the  Muses;  dedicated  to  Lady  Strange. 

3.  Virgils  Gnat;  dedicated  to  the  Earl  of  Leicester. 

4.  Prosopopoia:  or  Mother  Hubberds  Tale;  dedicated  to  Lady 
Compton  and  Monteagle. 

5.  The  Ruines  of  Rome,  thirty-two  sonnets,  with  V Envoy. 

6.  Muiopotmos,  or  The  Fate  of  the  Butterflie;  dedicated  to  Lady 
Carey. 

7.  Visions  of  the  World's  Vanitie, 

8.  The  Visions  of  Bellay. 

9.  The  Visions  of  Petrarch  formerly  Translated. 

The  Visions  of  Bellay  and  The  Visions  of  Petrarch  formerly 
Translated,  had  been  printed  twenty-two  years  before,  in 
Van  der  Noodt's  A  Theatre  wherein  be  represented  as  wel  the 
miseries  &  calamities  that  follow  the  voluptuous  Worldlings,  As 
also  the  greate  ioyes  and  plesures  which  the  faithfull  do  enjoy. 
(1569.  Dedicated  to  Queen  EHzabeth.) 

Following  the  dedication  there  came  twenty-one  woodcuts 
in  illustration  of  some  poems  by  Petrarch  and  Du  Bellay  which 
Van  der  Noodt  had  studied  while  compiling  his  tract,  and 
opposite  each  woodcut  was  placed  a  translation  into  English 
verse  of  the  appropriate  Italian  or  French  poem.  The  ^Epi- 
grams '  of  Petrarch  is  a  series  of  six  poems  of  twelve  or  fourteen 
lines,  riming  alternately,  with  a  quatrain  for  Venvoi,  which 
render  his  canzone,  —  Standomi  un  giorno  solo  alia  flnestra 
{Canzone  42,  of  Sonetti  e  Canzoni  in  Morte  di  Madonna  Laura). 
The  fifteen  'Sonets'  or  'Visions,'  from  the  Songe  of  Joachim 
Du  Bellay,  were  unrimed,  and  four  of  them  were  described  as 
"out  of  the  Revelations  of  St.  John.'* 

The  verses  are  without  Spenser's  name,  but  as  they  appear, 
with  alterations,  in  Complaints,  they  have  been  accepted  as 
the  earliest  printed  work  of  the  poet,  then  a  boy  in  his  seven- 
teenth year.  In  Complaints,  Petrarch's  Epigrams  were  re- 
named *  Visions,'  and  were  made  each  fourteen  lines  long,  while 
the  Sonets  of  Du  Bellay,  now  called  'Visions,'  were  supplied 
with  rimes,  and  others  substituted  for  the  four  "out  of  the 
Revelations  of  St.  John." 


POETRY 


139 


The  Ruines  of  Rome  and  The  Visions  of  Bellay  translate  a 
collection  of  forty-seven  sonnets  by  Du  Bellay,  entitled, 
Antiquitez  de  B,ome,  contenant  une  generate  description  de  sa 
grandeur,  et  comme  une  deploration  de  sa  ruine  .  .  .  Plus  un 
Songe  ou  vision  sur  le  mesme  subject,  Paris.  Frederic  Morel. 
1558.    4to.    British  Museum. 

Lady  Compton  and  Monteagle,  Lady  Carey,  and  Lady 
Strange  were  Spenser's  kinswomen,  daughters  of  Sir  John 
Spencer,  of  Althorpe.  Lady  Compton  and  Monteagle,  later 
Countess  of  Dorset,  was  Anne  Spencer,  eldest  daughter;  she 
was  *Charillis'  in  Colin  Clouts  Come  Home  Againe.  Lady 
Carey,  afterwards  Lady  Hunsdon,  was  Elizabeth  Spencer, 
second  daughter,  and  *  Phyllis*  of  Colin  Clouts  Come  Home 
Againe.  Lady  Strange  was  Alice  Spencer,  sixth  daughter,  who 
became  Countess  of  Derby.  She  was  *  Amaryllis'  of  Colin 
Clouts  Come  Home  Againe,  1595,  and  lived  to  have  Milton 
dedicate  Arcades  to  her  about  1634.  "The  peerage-book  of 
this  countess  is  the  poetry  of  her  times"  is  Warton's  fine 
phrase  and  praise. 

93 

1592.  AmintcB  Gaudia,  Authore  Thomd  Watsono  Londinensi, 
Juris  studioso. 

Londini:  Impensis  Guilhelmi  Ponsonbei.  1592.  4to.  Bodleian. 
British  Museum. 

Dedicated,  "Mariae  Penbrokiae  Countissae,"  by  C.  M., 
who  deeply  laments  Watson's  death.  Hazlitt  suggests  that 
C.  M.  may  have  been  Christopher  Marlowe. 

George  Peele,  writing  shortly  after  the  early  death  of  Wat- 
son, says:  — 

Watson,  worthy  many  Epitaphes 

For  his  sweet  Poesie,  for  Amintas  teares 

And  joyes  so  well  set  downe. 

Ad  Moeccenatum  Prologus,  in  The  Honour  of  the  Garter  (1593). 
Francis  Meres,  in  his  Palladis  Tamia :  Wits  Treasury,  1598, 
says:  — 


140  ELIZABETHAN  TRANSLATIONS 


"As  Theocritus  in  Greeke,  Virgil  and  Mantuan  in  Latine, 
Sanazar  in  Italian,  and  the  Authour  of  Amyntce  Gaudia  and 
Walsingham's  Meliboeus  are  the  best  for  pastorall." 

Amintce  Gaudia  is  a  poem  in  Latin  hexameters,  divided  into 
five  *  epistolcBf'  or  elegiac  eclogues,  after  the  manner  of  Petrarch 
in  his  Latin  pastorals,  and  of  the  once  famous  Mantuan 
through  whom  the  traditions  of  English  pastoral  poetry  really 
descend. 

94 

1594.  Godfrey  of  Bulloigney  or  the  Recouerie  of  Hierusalem. 
An  Heroicall  poeme  written  in  Italian  by  Seig.  Torquato  Tasso, 
and  translated  into  English  hy  R.  C.  Esquire:  And  now  the  first 
part  containing  flue  Cantos,  Imprinted  in  both  Languages. 

London.  Imprinted  by  John  Windet  for  Christopher  Hunt 
of  Exceter.  1594.  4to.  120  leaves.  British  Museum.  Also: 
1817.  12mo.  (Fourth  Book,  accompanying  Fairfax's  trans- 
lation.) British  Museum.  18S1.  4to.  A.  B.  Grosart.  (62  copies 
only.) 

A  translation  of  the  first  five  cantos  of  Tasso's  La  Gerusa- 
lemme  Liberata  (1580),  Italian  and  English  facing  each  other, 
page  for  page.  It  is  more  noteworthy  for  its  faithfulness  to 
the  original  than  for  its  poetry;  the  verse  is  always  regular 
and  is  set  in  the  Italian  stanza.  R.  C.  is  Richard  Carew  of 
Anthony,  author  of  the  Survey  of  Cornwall. 

II.  Godfrey  of  Bulloigne  was  acted  July  19,  1594,  while 
Godfrey  of  Bulloigne,  with  the  Conquest  of  Jerusalem,  was 
entered  on  Register  B,  for  John  Danter,  June  19,  1594.  Fleay 
(Chronicle  of  the  English  Drama,  Vol.  ii,  p.  302)  thinks  this 
must  have  been  the  First  Part  of  the  same  play,  and  may 
have  been  identical  with  the  old  play  called  Jerusalem,  of 
March  22,  1592,  retained  by  Henslowe  from  Lord  Strange's 
men. 

The  Four  Prentices  of  London,  with  the  Conquest  of  Jerusalem, 
by  Thomas  Heywood,  was  acted  before  1615,  at  the  Red  Bull, 
and  printed  in  1615  and  1632. 


POETRY 


141 


Kirkman's  Catalogue,  1661,  mentions  a  tragedy,  entitled 
The  Destruction  of  Jerusalem,  which  was  written  by  Thomas 
Legge,  and  acted  in  1577  at  Coventry. 

See  Fairfax's  Godfrey  of  Bulloigne  (1600). 

95 

1594.  Madrigalles  to  four  VoyceSy  the  first  Booke.  [By 
Thomas  Morley.] 

London,  by  Thomas  Este  in  Aldersgate  Street  at  the  sign 
of  the  Black  Horse.  1594.  4to.  Four  parts.  Twenty  songs. 
Also,  London,  by  T.  Este.  1600.  4to.  Twenty-two  songs. 

Morley 's  Madrigalles  to  four  Voyces  contains  the  madrigal, 

Fair  is  my  love,  for  April 's  in  her  face,  — 

which  is  found,  slightly  varied,  in  Robert  Greene's  romance, 
Perimides  the  Blackesmith  (1588).  Also,  the  madrigals  of 
England's  Helicon  (1600),  entitled,  — 

**  Lycoris  the  Nymph  her  Sad  Song,"  and 
"  Philistus'  Farewell  to  false  Clorinda." 

Thomas  Morley,  born  about  1557,  died  about  1604,  a  pupil 
of  William  Byrd,  became  organist  of  St.  Paul's,  and  later 
successively  epistler  and  gospeler  to  the  Chapel  Royal.  He 
wrote  seven  books  of  canzonets  or  madrigals,  1593  to  1600; 
A  Plaine  and  Easie  Introduction  to  Practicall  Musicke;  and 
edited,  in  1601,  Madrigals.  The  Triumphs  of  Oriana,  a  collection 
of  twenty-five  madrigals  in  honor  of  Queen  Elizabeth. 

One  of  Morley's  airs,  in  The  First  Booke  of  Ayres  or  Little 
Short  Songs  (1600),  is  a  setting  of  the  second  page's  song  in 
As  You  Like  It,  v,  3,  "It  was  a  lover  and  his  lass,"  a  charm- 
ingly fresh  and  flowing  melody,  which  is  extremely  interesting 
as  one  of  the  few  pieces  of  original  Shaksperean  music  that  has 
survived.  The  air  is  reprinted  in  Chappell's  Popular  Music  of 
the  Olden  Time,  i,  204-05,  and  in  Charles  Knight's  Pictorial 
Shakespere  (1838-41). 

The  song,  "O  mistress  mine,"  Twelfth  Night,  ii,  3,  is  found 
in  both  editions  of  Morley's  Consort  Lessons  (1599  and  1611). 


142  ELIZABETHAN  TRANSLATIONS 


It  is  one  of  the  songs  of  The  Fitzwilliam  Virginal  Book  (Vol.  i, 
p.  258,  ed.  1899),  known  as  "Queen  Elizabeth's  Virginal 
Book."  The  song  is  arranged  by  William  Byrd,  and  is  appar- 
ently the  earliest  authentic  extant  Shaksperean  air. 

96 

1595.  The  First  BooJce  of  Balletts  to  five  voyces.  [By  Thomas 
Morley.] 

London,  by  Thomas  Este.  1595.  4to.  Five  parts.  Twenty- 
one  ballads. 

An  edition  with  Italian  words  appeared  in  the  same  year. 
Also,  in  English,  London.  Thomas  Este.  1600.  4to.  German 
translation  at  Nuremberg,  in  1609.  Reprinted  in  score  by  the 
Musical  Antiquarian  Society,  edited  by  E.  F.  Rimtjault, 
1842. 

Dedicated,  "To  the  Right  Honorable  Sir  Robert  Cecill, 
Knight;  one  of  Her  Majesty's  Honorable  Privy  .Council." 

97 

1595.  The  first  Booke  of  Canzonets  to  Two  Voyces,  containing 
also  nine  Fantasies  for  Instruments.  [By  Thomas  Morley.] 

London,  by  Thomas  Este.  1595.  4to.  Two  parts,  cantus 
and  tenor.  Also,  1619. 

Dedicated,  "To  the  most  vertuous  and  gentile  Ladie,  the 
Ladie  Periam." 

This  collection  contains  twelve  songs.  "I  am  constrained  to 
say  that  Morley  has  been  guilty  of  several  bare-faced  pla- 
giarisms. Imprimisy  from  the  madrigals  of  Felice  Anerio, 
which  he  has  dished  up  by  wholesale  in  his  *  Canzonets  for  two 
voices*;  and  secondly,  from  the  Balletti  of  Gastoldi,  which  have 
furnished  him  with  musical  ideas  (the  words  of  course  he  had 
a  right  to  make  free  use  of)  for  his  *Fa  las  to  five  voices.*'* 
(Oliphant,  La  Musa  Madrigalescay  pp.  63-64.) 

Three  of  Anerio's  madrigals  here  Englished  are  — 

GitenCy  Canzonettey  al  mio  hel  sole,  Morley 's  "Go  ye,  my 
Canzonets,  to  my  dear  darling  "; 


POETRY 


143 


Caggia  fuoco  dal  cielo,  Morley's  "Fire  and  lightning";  and 
the  beautiful  song,  — 

Quando  la  vaga  Flori 
Nei  matuiini  albori, 
Premendo  i  verdi  prati, 
Scegliefiori  i  piu  lieti  ed  odoraii; 
Cantar  gV  augelli  amorosetti  aW  hora, 
Ecco  la  nova  Aurora, 

Morley*s  "When  lo!  by  break  of  morning." 

Felice  Anerio,  1560(?)-1630(?),  was  a  celebrated  composer 
of  sacred  madrigals,  and  organist  to  the  pontifical  chapel  in 
Rome  after  the  death  of  Palestrina. 

The  dedication  is  followed  by  a  madrigal,  in  tercets,  signed 
*M.  M.  D/,  possibly  *  Master  Michael  Drayton':  — 

Such  was  old  Orpheus'  cunning, 

That  senseless  things  drew  near  him; 
And  herds  of  beasts  to  hear  him. 

The  stock,  the  stone,  the  ox,  the  ass,  came  running.  * 
Morley!  but  this  enchanting 
To  thee,  to  be  the  music  god,  is  wanting; 

And  yet  thou  needst  not  fear  him; 

Draw  thou  the  shepherds  still,  and  bonny  lasses, 
And  envy  him  not  stocks,  stones,  oxen,  asses. 

**Gastoldi's  Balletti  furnish  a  considerable  number  of  the 
originals,  and  from  them  the  English  version  is  principally 
translated  or  paraphrased."  (Thomas  Oliphant,  La  Musa 
Madrigalescay  p.  82.) 

Lirum,  lirum^  translates  Gastoldi's  ballet,  Gloria  d'  Amore:  — 

You  that  wont  to  my  pipe's  sound. 
Daintily  to  tread  the  ground; 

Jolly  shepherds  and  nymphs  sweet. 

Lirum  lirum. 

Here  met  together. 
Under  the  weather. 

Hand  in  hand  uniting,  the  lovely  god  we  greet. 

Lirum  lirum. 


144  ELIZABETHAN  TRANSLATIONS 


Lo!  triumphing  brave  comes  he 
All  in  pomp  and  majesty. 

Monarch  of  the  world  and  King. 

Lirum  lirum. 

Let  whoso  list  him. 
Dare  to  resist  him. 

We  our  voice  uniting,  of  his  high  acts  will  sing. 

Lirum  lirum. 

Giovanni  Giacomo  Gastoldi  was  maestro  di  capella  in 
Mantua.  He  wrote,  Balletti  da  suonare,  cantare,  et  ballare, 
Venice  (1591-95;  Antwerp,  1596). 

98 

1596.  Diella,  Certaine  Sonnets,  adioyned  to  the  amorous  Poeme 
of  Dom  Diego  and  Gineura.  By  j?.[ichard]  Z.[ynche]  Gentleman. 
Ben  holla,  a  chifortuna  suona. 

At  London,  Printed  for  Henry  OIney,  and  are  to  be  sold 
at  his  shop  in  Fleetstreete  neer  the  Middle-temple  gate.  1596. 
8vo.  44  leaves.  Bodleian.  British  Museum.  (16mo.)  Re- 
printed, edited  by  A.  B.  Grosart,  in  Occasional  Issues,  Vol.  iii, 
1877. 

The  "amorous  Poeme  of  Dom  Diego  and  Gineura"  is  taken 
from  Bandello,  i,  27,  Don  Diego  de  la  sua  Donna  sprezzato, 
ua  a  starsi  in  una  Grotta;  e  come  n'  usct.  The  romance  is  related 
by  Painter,  Palace  of  Pleasure  (1567,  ii,  29),  Dom  Diego  and 
Gineura;  by  Fenton,  Certaine  Tragicall  Discourses  (1567, 
No.  IS),  A  wonderfull  constancie  in  Dom  Diego;  and  by  Whet- 
stone, Rocke  of  Regard  (1576,  2),  The  Garden  of  Unthriftinesse, 
wherein  is  reported  the  dolorous  discourse  of  Dom  Diego  a 
Spaniard,  together  vnth  his  triumphe. 

Thomas  Procter's  A  gorgious  Gallery  of  gallant  Inuentions 
(1578)  mentions  Dom  Diego  in  the  poem,  entitled  The  Louer 
wounded  with  his  Ladies  beauty  craueth  mercy.  To  the  Tune  of 
where  is  the  life  that  late  I  led. 

Dedicated,  "To  the  most  worthily  honoured,  and  vertuous 
beautified  Lady,  the  Ladie  Anne  Glenmham,  wife  to  the  most 


POETRY 


145 


noble,  magnanimous,  and  woorthy  Knight,  Sir  Henry  Glenm- 
ham,"  etc. 

I  like  to  believe  that  our  R.  L.  was  the  R.  L.  of  Richard 
Barnfield's  famous  sonnet,  "  To  his  friend^  Maister  R.  L.  In 
praise  of  Musique  and  Poetrie.*'  (A.  B.  Grosart,  Introduction  to 
Diella,  Occasional  Issues,  Vol.  iii,  pp.  vii,  viii.) 

For  Barnfield's  sonnet,  see  John  Dowland's  Second  Book  of 
Songs  or  Airs  (1600). 

99 

1597.  Canzonets.  Or  Little  Short  Songs  tofoure  voyces:  celected 
out  of  the  best  and  approved  Italian  Authors  by  Thomas  Morley, 
Gent,  of  her  Majesties  Chappell. 

Imprinted  at  London  by  Peter  Short,  dwelling  on  Bred- 
streete  hill  at  the  signe  of  the  Star  and  are  there  to  be  sold. 
1597.  4to.  Four  parts.  Twenty  madrigals.  British  Museum. 

Dedicated  "to  the  Worshipfull  Maister  Henrie  Tapsfield, 
Citizen  and  Grocer,  of  the  Cittie  of  London  —  I  hartily  intreat 
you  to  accept  these  poore  Canzonets,  by  me  collected  from 
diuers  excellent  Italian  Authours,  for  the  honest  recreation  of 
yourselfe  and  others." 

A  few  of  these  songs  may  be  found  in  the  British  Bibliogra- 
pher, Vol.  I,  pp.  344-45,  where  one  canzonet,  — 

Long  hath  my  loue  bene  kept  from  my  delighting,  — 
is  ascribed  to  Felice  Anerio. 

100 

1597.  Laura.  The  Toyes  of  a  Traueller.  Or,  The  Feast  of 
Fancie.  Diuided  into  three  Parts.  By  R.  T.  Gentleman.  Poca 
fauilla  gran  fiamma  seconda.   (Paradiso,  i,  34.) 

London.  Printed  by  Valentine  Sims.  1597.  12mo.  British 
Museum,  formerly  at  Lamport  Hall,  near  Northampton  (Sir 
Charles  E.  Gresham,  Bart.). 

Dedicated,  in  prose,  "To  the  no  lesse  vertuous,  than  faire, 
the  honourable  Ladie  Lucie  [Percy],  sister  to  the  thrice  re- 
nowmed  and  noble  Lord,  Henry  Earle  of  Northumberland." 


146  ELIZABETHAN  TRANSLATIONS 


An  epistle  in  verse  is  dedicated,  *'Alla  hellissima  sua  Signora 
E.  C"  The  third  stanza  of  this  epistle  refers  to  his  nickname, 
*R.  T.'  (Robert  Tofte),  'Robin  Redbreast \-  — 

And  though  the  note  (thy  praises  only  fit) 
Of  sweetest  Bird,  the  dulcet  Nightingale: 
Disdaine  not  little  Robin  Red-bresT  yet, 
[He  sings  his  lowly  best  if  he  doth  fail] 
What  he  doth  want  in  learning  or  in  skill, 
He  doth  supply  with  zeale  of  his  goodwill. 

Compare  with  this  the  play  upon  the  name  in  The  Fruits  of 
Jealousie,  Stanzas  5  and  6. 

The  last  stanza  of  the  verse  dedication  states  that  the  poem 
was  written  in  Italy,  — 

Then  doubt  mee  not,  though  parted  wee  remaine, 

In  England  thou,  and  I  in  Italy: 

As  I  did  part  I  will  returne  againe, 

Loyall  to  thee,  or  els  with  shame  He  dye. 

True  Loners  when  they  trauaile  Countreyes  strange. 
The  aire,  and  not  their  constant  mindes  doo  change. 

Coelum,  non  animum  mutant^  qui  trans  mare  currunt. 
Affettionatissimo  servid.  delta  diuina  Belezza  sua. 

R.  T. 

E.  C,  of  both  Laura  and  Alba  (1598),  is  supposed  to  be  Eu- 
phemia  (Hazlitt)  or  Elizabeth  C.[areill]  or  Carill,  or  Caryll, — 

And  gainst  all  sense  makes  mee  of  Care  and  II, 
More  then  of  good  and  ComfoRT  to  have  will. 

Laura,  '  The  Second  Part,'  Sonnett  xxxni. 

Then  constant  Care,  not  ComfoRT  I  do  crave. 
And  (might  I  choose)  I  Care  with  L.  would  haue. 

Alba,  The  Second  Part,  Stanza  84,  11.  5,  6. 

Laura  is  a  collection  of  short  poems,  "  most  parte  conceiued 
in  Italic,  and  some  of  them  brought  foorth  in  England";  more 
than  thirty  of  the  poems  are  by  some  one  else,  as  is  stated  in 
"A  Frends  just  excuse  about  the  Booke  and  Author,  in  his 
absence,"  which  is  appended  to  the  work  by  R.  B. 

The  poems  are  called  *  sonnets,'  although  written  in  rhymed 


POETRY 


147 


stanzas  of  ten  and  twelve  lines.  The  ten-lined  stanzas  are  made 
up  of  two  quatrains  and  a  couplet,  and  the  twelve-lined,  of  two 
sestets,  further  divided  into  a  quatrain  and  a  couplet.  Many 
of  the  *  sonnets*  were  written  in  Italy,  as  is  shown  by  the 
signatures,  Padoa  (i,  i),  Venice,  Sienna,  Pisa,  Roma  (ii,  11), 
Fiorenza,  Napoli,  Mantoa,  Pesaro,  and  Fano  (iii,  26,  35,  39). 
At  Fano  (iii,  35)  Laura  either  lived,  or  was,  like  her  lover,  a 
visitor,  for  upon  his  leaving  she  gave  him 

Of  golde  and  pearle  a  daintie  wouen  Wreathe. 

One  poem  (i,  2)  is  signed  *  London.'  This  is  unique  in  Eliza- 
bethan literature. 

In  his  edition  of  Alba  (1880)  Dr.  Grosart  points  out  that 
Laura  and  Alba  are  really  the  same  piece,  Laura  being  the 
sketch  which  was  wrought  over  into  the  more  finished  poem 
of  the  following  year. 

Like  Petrark  chaste  of  Laura  coy  I  plaine. 
Of  whom  I  (neuer  yet)  could  Fauour  gaine. 

Alba,  The  Third  Part,  Stanza  72, 11.  5,  6. 

Of  Robert  Tofte  very  little  is  known.  He  was  an  *Italian- 
ated'  Englishman,  a  traveler  into  France  and  Italy,  and  an 
industrious  translator,  all  seven  of  his  surviving  works  being 
more  or  less  directly  translated  from  the  Italian.  His  style  is 
founded  on  the  Italian  writers  of  his  own  day,  or  a  little 
earlier,  and  is  full  of  Italicisms.  He  especially  ajffects  Serafino. 
h  Dr.  Grosart,  with  his  extraordinary  luck  in  such  matters, 
discovered  the  poet's  will,  and  the  register  of  his  death:  — 

-  Q     Buried  at  St.  Andrew's  Holborn 
16      Jan.  24  Robert  Tofte,  Gent,  out  of  Widow 
Goodal's  house  near  Barnard's  Inn. 

The  will,  dated  March  30,  1618,  bequeaths  a  great  many 
small  sums  of  money  and  keepsakes  to  various  relatives  and 
friends.  One  item  reads,  —  "I  give  unto  my  Cosin  Margaret 
Daye  wife  into  my  Cosin  George  Daye  of  West  drayton  in  the 
Countie  of  Middlesex  gent  a  little  sweetebagg  of  Crymson 


148  ELIZABETHAN  TRANSLATIONS 


Taffeta  and  an  umbrello  of  perfumed  leather  with  a  gould 
fryndge  abowte  yt  which  I  brought  out  of  ItaUe." 

For  this  account  of  Eobert  Tofte  I  am  indebted  to  Alba. 
The  Month's  Minde  of  A  Melancholy  Lover,  By  Robert  Tofte, 
Gentleman  (1598).  Edited,  with  Introduction  and  Notes  and 
Illustrations  by  Alexander  B.  Grosart.  Occasional  Issues, 
Vol.  XI.   1880.  sm.  4to. 

See  Orlando  Inamorato  (1598),  Of  Mariageand  Wiuing  (1599), 
Ariostos  Satyres  (1608),  Honours  Academic  (1610),  The  Blazon 
of  J ealousie  (1615). 

101 

1597.  Madrigals  to  three,  four,  five,  or  six  Voyces,  made  and 
newly  published  by  Thomas  Weelkes. 

London,  by  T.  Este.  1597.  4to.  Twenty-four  madrigals. 
Edited  by  E.  J.  Hopkins,  for  the  Musical  Antiquarian  Society. 
1845. 

Dedication:  "To  the  Right  Worshipful  Master  George 
Phillpot,  Esquire,  Thos.  Weelkes  wisheth  all  joy,  health,  and 
felicity." 

Madrigal 
Those  sweet  delightful  111  lies 
Which  nature  gave  my  Phillis, 
Ah  me!  each  hour  makes  me  to  languish. 
So  grievous  is  my  pain  and  anguish. 

This  is  a  limp  translation  of  an  Italian  stanza,  — 

7  bei  ligustri  e  rose,  — 
also  set  to  music  by  Weelkes  in  his  Ayres  or  PhantasticJce  Spirits 
(1608).  The  English  version  is  also  set  by  Thomas  Bateson 
(1604). 

Numbers  2,  3,  and  4,  are  madrigals  set  to  the  pastoral  song, 
"My  flocks  feed  not,"  which  is  Number  18  of  The  Passionate 
Pilgrim,  pubHshed  1599  and  1612  as  "by  W.  Shakespeare." 
The  same  song  is  called  The  Unknown  Shepherd's  Complaint, 
and  is  signed  'Ignoto,'  in  England's  Helicon  (1600),  where  it  is 
immediately  followed  by  another  poem  of  The  Passionate 


POETRY 


149 


Pilgrim,  Number  21,  here  also  signed  *Ignoto,'  and  entitled, 
Another  of  the  Same  Shepherd's,  This  is  the  well-known  ode,  — 

As  it  fell  upon  a  day,  — 
now  known  to  have  been  written  by  Richard  Bamfield.  (Poems : 
In  diners  humors.  1598.) 

"For  originality  of  ideas,  and  ingenuity  in  part  writing,  (I 
allude  more  especially  to  his  Ballets,)  Weelkes  in  my  opinion 
leaves  all  other  composers  of  his  time  far  behind."  (Oliphant, 
La  Musa  Madrigalesca,  p.  115.) 

Thomas  Weelkes  contributed  to  The  Triumphs  of  Oriana 
(1601),  the  madrigal,  — 

As  Vesta  was  from  Latmos  Hill  descending,  — 
which  is  one  of  his  best  songs.  Many  of  Weelkes*s  madrigals 
are  still  popular,  and  are  often  reprinted;  among  them  are,  — 

"Now  ev'ry  tree  renews  its  summer's  green.'*  (1597.) 

"Lo!  country  sport  that  seldom  fades."  (1597.) 

"To  shorten  winter's  sadness."  (1598.) 

"In  pride  of  May."  (1598.) 

*'  Welcome  sweet  pleasure."  (1598.) 

*'  Lady,  your  eye  my  love  enforced."  (1598.) 

"  Now  let  us  make  a  merry  greeting."  (1600.) 

"  Strike  it  up,  neighbor."  (1608.) 

"The  Nightingale."  (1608.) 

102 

1597.  Two  TaleSy  Translated  out  of  Ariosto.  The  one  in 
Dispraise  of  Men,  the  other  in  Disgrace  of  Women:  With  cer- 
tain other  Italian  Stanzes  and  Proverbs.  By  R.[obert]  T.[ofte] 
Gentleman. 

Printed  at  London  by  Valentine  Sims,  dwelling  on  Adling 
hill  at  the  signe  of  the  white  Swanne.   1597.  4to.   16  leaves. 

103 

1597.  Virgidemiarum  Sixe  BooJces.  First  three  Bookes,  of 
Tooth-lesse  Satyrs.  1.  Poeticall.  2.  Academical.  3.  Morall. 

London.  Printed  by  John  Harison,  for  Robert  Dexter. 
1602. 


150  ELIZABETHAN  TRANSLATIONS 


Virgidemiarum :  The  three  last  Bookes.  Of  hyting  Satyres. 
Corrected  and  amended  with  some  additions  by  J.  H.  [Joseph 
Hall,  successively  Bishop  of  Exeter  and  of  Norwich.] 

Imprinted  at  London  for  Robert  Dexter,  at  the  signe  of 
the  Brazen  Serpent  in  Paules  Churchyard.  1599. 

Certaine  Worthye  Manuscript  Poems,  of  great  Antiquities  Re- 
serued  long  in  the  Studie  of  a  Northfolke  Gentleman,  And  now 
first  published  by  J.  S, 

Imprinted  at  London  for  R.  D.  1597.  Small  8vo.  Certaine 
Worthye  Manuscript  Poems  were  reprinted  in  Edinburgh,  1812, 
twenty-five  copies  only. 

These  three  publications,  though  always  found  in  one  vol- 
ume, have  different  titles  and  signatures.  The  first  three  books 
of  satires  originally  appeared  in  1597,  the  last  three  in  1598. 
The  Huth  Library  copy,  whose  title-page  is  here  given,  was  the 
third  edition  of  Books  i-iii,  and  the  second  of  Books  iv-vi. 

Of  the  Certaine  Worthye  Manuscript  Poems  there  was  only 
a  single  impression,  dedicated  "To  the  worthiest  Poet  Maister 
Ed.  Spenser." 

The  poems  are  three  in  number,  — 

The  statly  tragedy  of  Guistard  and  Sismond, 

The  Northern  Mothers  Blessing. 

The  way  to  Thrifte. 

The  statly  tragedy  of  Guistard  and  Sismond  is  taken  from 
the  Decameron,  iv,  1,  and  is  a  reprint  of  a  metrical  version 
of  the  romance  made  by  William  Walter,  a  poet  of  the  time  of 
Henry  VII.  Walter's  poem,  which  is  in  octave  stanza,  was 
based  on  a  Latin  prose  translation,  Epistola  Leonardi  Aretini 
de  amore  Guistardi  et  Sigismunda  (1438),  and  is  entitled.  The 
amorous  History  of  Guystarde  and  Sygysmonde,  and  of  their 
dolorous  Deth  by  her  Father.  It  was  printed  by  Wynkyn  de 
Worde  in  1532.  Roxburghe  Club.  1818. 

The  romance  of  Guiscardo  and  Ghismonda  was  put  into 
Italian  terza  rima,  by  Francesco  Accolti  (1493);  in  1493,  also, 
Jean  Fleury  made  a  translation  into  French  verse.  La  piteuse  et 
lamentable  historic  de  Gismond,  his  original  being  the  Latin  ver- 


POETRY 


151 


sion  of  Boccaccio's  tale  made  by  Leonardo  Bruni  (Aretino).  The 
story  was  done  into  Latin  elegiac  verse  by  Filippo  Beroaldo, 
Carmen  de  duobus  amantihuSy  Fabula  Tancredi  in  latinum  versa 
(1498);  and  into  Italian  ottava  rima,  by  Annibale  Guasco,  La 
Ghismonda  (1583).  Five  Italian  tragedies  on  the  subject  were 
written  between  1508  and  1614:  —  Filustrato  e  Pamfila  (1508), 
by  Antonio  da  Pistoia;  La  Gismonda  (1569),  by  Girolamo 
(Silvano)  Razzi;  Federico  Asinari,  won  a  temporary  fame  for 
his  II  Tancredi  (1588),  by  bringing  it  out  as  La  Gismonda,  in 
Paris,  in  1587,  and  attributing  it  to  Torquato  Tasso.  An  II 
Tancredi,  by  Pomponio  Torelli,  appeared  in  1597,  and  another 
by  Ridolfo  Campeggi,  in  1614. 

Two  Elizabethan  plays  carry  the  tragedy  over  into  English 
literature,  — 

Tancred  and  Gismunda,  a  tragedy,  by  Robert  Wilmot,  acted 
before  the  Court,  at  the  Inner  Temple,  in  1568,  and  printed 
in  1592,  quarto.  It  is  the  oldest  extant  Elizabethan  play 
founded  on  an  Italian  novella. 

Tancred,  by  Sir  Henry  Wotton,  written  at  Queen's  College, 
Oxford,  in  1586-87,  and  not  extant. 

Both  of  these  plays  are  probably  founded  on  Painter's  prose 
translation,  Gismonda  and  Guiscardo  (Palace  of  Pleasure,  i, 
39).  Dry  den  versified  the  romance  in  his  Fables,  as  Sigismonda 
and  Guiscardo. 

There  are  three  eighteenth-century  tragedies  on  the  theme, 
The  Cruel  Gift,  or  the  Royal  Resentment,  by  Susannah  Cent- 
livre  (1717,  12mo),  Tancred  and  Sigismunda,  by  James 
Thomson  (1745,  8vo),  and  The  Father's  Revenge,  by  Frederick 
Howard,  fifth  Earl  of  Carlisle  (1783,  4to). 

Hogarth,  1763,  painted  Sigismonda  weeping  over  the  heart 
of  her  lover.  (National  Gallery,  London.)  Hogarth's  picture 
is  an  imitation,  not  very  happy,  of  a  beautiful  painting,  at- 
tributed to  Correggio. 

"There  [at  New  College]  he  continued  till  about  the  eight- 
eenth year  of  his  age,  and  was  then  transplanted  into  Queen's 
College:  where,  within  that  year,  he  was  by  the  chief  of  that 


152  ELIZABETHAN  TRANSLATIONS 


college,  persuasively  enjoined  to  write  a  play  for  their  private 
use;  —  it  was  the  tragedy  of  Tancredo  —  which  was  so  inter- 
woven with  sentences,  and  for  the  method  and  exact  personat- 
ing those  humours,  passions,  and  dispositions,  which  he  pro- 
posed to  represent,  so  performed,  that  the  gravest  of  the  society 
declared,  he  had,  in  a  slight  employment,  given  an  early  and  a 
solid  testimony  of  his  future  abilities.  And  though  there  may 
be  some  sour  dispositions,  which  may  think  this  not  worth  a 
memorial,  yet  that  wise  knight,  Baptista  Guarini,  —  whom 
learned  Italy  accounts  one  of  her  ornaments,  thought  it  neither 
an  uncomely  nor  an  unprofitable  employment  for  his  age." 
(Isaac  Walton,  Life  of  Sir  Henry  Wotton.) 
See  The  Palace  of  Pleasurey  1566,  and  The  Decameron^  1620. 

104 

1598.  Orlando  inamorato.  The  three  first  Bookes  of  that 
famous  Noble  Gentleman  and  learned  Poet,  Mathew  Maria 
Boiardo  Earle  of  Scandiano  in  Lombardie.  Done  into  English 
Heroicall  Verse  by  i?.[obert]  r.[ofte]  Gentleman.  Parendo  impero 
Imperando  pereo. 

Printed  at  London  by  Valentine  Sims,  dwelling  on  Adling 
hil  at  the  signe  of  the  white  Swanne.  1598.  Small  4to.  British 
Museum.  Bodleian. 

The  larger  part  of  Boiardo's  unfinished  poem,  Orlando  In- 
namorato,  had  been  published  in  1486;  the  continuation  is  said 
to  have  appeared  in  1495,  but  the  edition  of  1506  is  the  earliest 
now  extant. 

There  are  two  rifacimenti  of  the  Orlando  Innamoralo,  Fran- 
cesco Berni's  elegant  poem  and  Luigi  Domenichi's  poor  one  that 
superseded  that. 

^'Orlando  Inamorato  is  singularly  unequal;  but  shows  famil- 
iarity with  the  language  and  dexterity  of  versification.*'  (A.  B. 
Grosart,  Occasional  Issues,  Vol.  xii.) 

Grosart*s  biography  of  Robert  Tofte,  in  the  volume  of 
Occasional  Issues  just  cited,  is  probably  the  completest  account 
of  the  poet  that  we  have,  but  it  gives  no  information  as  to 


POETRY 


153 


Rober.t  Tofte's  original.  That  knowledge  came  to  me  from 
Dr.  Gamett,  author  of  A  History  of  Italian  Literature:  — 

"  Tofte's  translation  of  the  Orlando  Inamorato  follows  Do- 
menichi's  version.  The  first  two  or  three  stanzas  are  original 
with  the  translator,  and  I  think  that  he  occasionally  runs  two 
stanzas  into  one,  but  in  the  main  his  work  is  a  pretty  faithful 
rendering  of  the  rifacimento.''  (Dr.  Richard  Garnett.  Personal 
Letter,  February  17,  1897.) 

Blackwood's  reviewer  of  Rose's  The  Orlando  Innamorato 
Translated  into  Prose  from  the  Italian  of  Francesco  Berni  (1823) 
had  never  heard  of  Tofte's  translation,  for  he  says,  "no 
English  attempt  whatever  had  hitherto  been  made,  either 
upon  Boiardo  himself,  or  his  rifacciatore  Berni."  (Blackwood's 
Edinburgh  Magazine^  Vol.  xiii,  March,  1823.) 

The  story  of  Iroldo  and  Tisbina  of  Babylon,  which  is  related 
to  Rinaldo  by  Fiordelisa  (Orlando  Innamorato,  Book  i,  Canto 
12),  is  the  well-known  romance  of  Dianora  and  AnsaldOy  or 
the  Enchanted  Garden  (Decameron,  x,  5),  but  the  *  question' 
finds  a  different,  and  poorer,  solution  in  the  Renaissance  poet. 
In  Boccaccio,  and  after  him,  in  Chaucer's  Franklin's  Tale,  the 
lover,  overcome  by  the  husband's  generosity,  releases  the  lady 
from  her  promise.  In  Boiardo,  the  husband  and  wife  take 
poison  in  order  to  die  together;  but  the  drug  turns  out  to  be 
harmless,  whereupon  Iroldo  voluntarily  quits  Babylon  for  life, 
and  Tisbina,  who  had  just  been  on  the  point  of  dying  for  one 
husband,  incontinently  takes  another,  Prasildo. 

Leigh  Hunt  made  a  translation  of  the  romance  in  his  Stories 
from  the  Italian  Poets,  where  it  is  called  The  Saracen  Friends, 
See  Philocopo,  1567. 

105 

1598.  Madrigals  to  flue  voyces,  celected  out  of  the  best  approued 
Italian  Authors.  By  Thomas  Morley  Gentleman  of  Mr  Maiesties 
Royall  Chappel. 

At  London.  Printed  by  Thomas  Este.  1598.  Five  parts. 
4to.  Seventy  leaves.  Twenty-four  songs.  British  Museum, 


154  ELIZABETHAN  TRANSLATIONS 

Dedicated  to  "The  Worshipful  Sir  Gervais  Clifton,  Knight." 

Morley  says  in  his  Dedication,  —  "I  ever  held  this  sentence 
of  the  poet  as  a  canon  of  my  creede;  That  whom  God  loveth  not, 
they  love  not  Musique.  For  as  the  Art  of  Musique  is  one  of  the 
most  Heavenly  gifts,  so  the  very  love  of  Musique  (without  art) 
is  one  of  the  best  engrafted  testimonies  of  Heavens  love 
towards  us." 

Madrigal 

Doe  not  tremble,  but  stand  fast, 
Deare,  and  faint  not:  hope  well,  haue  well,  my  sweeting: 
Loe  where  I  come  to  thee  with  friendly  greeting : 

Now  ioyne  with  mee  thy  hand  fast: 

Loe  thy  true  loue  salut's  thee, 

Whose  jeme  thou  art,  and  so  he  still  reput's  thee. 

British  Bibliographer,  Vol.  ii,  p.  652. 

Thomas  Oliphant,  in  La  Musa  Madrigalesca,  pp.  104-106, 
treats  together  the  two  collections  of  madrigals  edited  by 
Thomas  Morley,  Canzonets.  Or  Little  Short  Songs  tofoure  voyces 
(1597),  and  Madrigals  to  five  voyces  (1598).  He  says,  "The 
poetry  (probably  by  Morley  himself)  is  so  wretched,  that  I 
only  insert  a  few  that  are  in  use  at  the  Madrigal  Society." 

He  gives  the  madrigals,  — 

"Lo!  Ladies,  where  my  love  comes,"  and 

*'  Delay  breeds  danger,  and  how  may  that  be  wrested." 

(Music  of  both  by  Ruggiero  Giovanelli.  1580.) 
"  My  lady  still  abhors  me." 

(Music  by  Giovanni  Ferretti.  1575.) 
"Hark  and  give  ear,  you  lovers  so  besotted." 

(Music  by  Giulio  Belli.) 

106 

1598.  The  Courtiers  Academie:  Comprehending  seuen  seuer- 
all  dayes  discourses;  wherein  he  discussed,  seuen  noble  and 
important  arguments,  worthy  by  all  Gentlemen  to  be  perused, 
[1.  Of  Beauty;  2.  Of  Humane  Loue;  3.  Of  Honour;  4-  Of 
Combate  and  single  Fight;  5.  Of  Nobilite;  6.  Of  Riches;  7.  Of 
precedence  of  Letters  or  Armes.]  Originally  written  in  Italian 


POETRY 


155 


by  Count  HanibaU  Romei  a  Gentleman  of  Ferraray  and  translated 
into  English  by  J.[ohn]  iiCfepers]. 

[London].  Printed  by  Valentine  Sims:  n.  d.  [1598.]  4to. 
British  Museum. 

Dedicated  to  "Sir  Charles  Blunt,  Lord  Mountjoy,  K.  G.'* 

Interspersed  with  poetry,  and  containing  also  some  transla- 
tions from  Petrarch. 

John  Kepers  was  born  about  1547,  at  Wells,  Somerset. 
Anthony  a  Wood  says  that  he  was  "brought  up  in  the  close 
of  Wells,"  and  Warton  that  he  was  a  graduate  of  Oxford  in  the 
year  1564,  who  afterwards  studied  music  and  poetry  at  Wells. 

107 

1598.  The  First  Set  of  English  Madrigals  to  three,  four,  five, 
and  six  voices.  Newly  composed  by  John  Wilbye. 

At  London,  printed  by  Thomas  Este.  1598.  4to.  Six  parts. 
Thirty  madrigals.  Reprinted  in  score,  edited  by  James  Turle, 
for  the  Musical  Antiquarian  Society.  1841.  Folio.  Reprinted 
in  Arber's  An  English  Garner^  Vol.  vii.  1895.  Reprinted  in 
An  English  Garner.  Shorter  Elizabethan  Poems.  With  an  In- 
troduction by  A.  H.  Bullen.  1903,  p.  145. 

Dedicated,  by  John  Wilbye,  to  "  The  Right  Worshipful 
and  valorous  Knight,  Sir  Charles  Cavendish." 

Madrigal 

Lady,  when  I  behold  the  roses  sprouting. 

Which  clad  in  damask  mantles  deck  the  arbours; 
And  then  behold  your  lips,  where  sweet  love  harbours; 

Mine  eyes  present  me  with  a  double  doubting : 

For  viewing  both  alike,  hardly  my  mind  supposes. 
Whether  the  roses  be  your  lips,  or  your  lips  the  roses. 

This  is  a  graceful  paraphrase  of  a  madrigal  by  Livio 
Celiano:  — 

Quand*  io  miro  le  rose, 
Ch'  in  voi  natura  pose; 
E  quelle  che  v'ha  V  arte 
Nel  vago  seno  sparte; 


156  ELIZABETHAN  TRANSLATIONS 


N(m  so  conoscer  poi 

Se  voi  le  rose,  o  sian  le  rose  in  vol, 

(Music  by  Francesco  Bianciardi.  1590.) 

There  is  another  version  of  this  madrigal  in  Thomas 
Lodge's  Italianate  romance.  The  Life  and  Death  of  William 
Longheard  (1593),  supjx)sed  to  be  the  source  of  Michael 
Drayton's  lost  play,  William  Longsword^  or  William  Longheard, 
acted,  1598-99. 

Madrigal 

Flora  gave  me  fairest  flowers. 

None  so  fair  in  Flora's  treasure; 
These  I  placed  on  Phillis'  bowers, 

She  was  pleased,  and  she  my  pleasure. 
Smiling  meadows  seem  to  say 

Come,  ye  wantons,  here  to  play. 

"As  regards  the  music,  this  is  perhaps  the  most  graceful  and 
elegant  Madrigal  ever  composed."  Oliphant,  from  whom  I 
quote  {La  Musa  Madrigalesca,  p.  181),  goes  on  to  compare  the 
invitation  of  the  "smiling  meadows"  to  the  words  of  the  old 
Winchester  song  of  Dulce  Domum,  — 

Ridet  annus,  prata  rident, 
Nosque  rideamus. 

The  madrigal, 

Thus  saith  my  Cloris  bright, 

is  a  second,  and  poorer,  rendering  of  Guarini's  pretty  verses,  — 

Dice  la  mia  bellissima  Lycori, 

translated  and  set  to  music  in  the  Second  Book  of  Musica 
Transalpina  (1597).  Another  beautiful  madrigal  of  Wilbye's 
First  Set  is  the  exquisitely  simple  good-bye  song,  — 

Adieu!  sweet  Amarillis, 

For  since  to  part  your  will  is, 
O  heavy  tiding! 
Here  is  for  me,  no  biding! 
Yet,  once  again,  ere  that  I  part  with  you, 
Amarillis,  sweet  AmarilHs,  adieu! 


POETRY 


157 


108 

Lovy.  Uf  Manage  and  Wiving.  An  Excellent,  pleasant,  and 
Philosophicall  Controversies  betweene  the  two  famous  Tassi  now 
living,  the  one  Hercules  the  Philosopher,  the  other,  Torquato  the 
Poet,  Done  into  English  by  i?.[obert]  r.[ofte]  Gentleman, 
2  pts. 

London.  Printed  by  Thomas  Creede,  and  are  to  be  sold  by 
John  Smythicke,  at  his  shop  in  Fleet  streete  neare  the  Temple 
Gate.  1599.  Crown  8vo.  British  Museum.  4to. 

This  is  a  translation,  partly  in  verse,  of  Tasso's  DelV  ammo- 
gliarsi,  piacevole  contese  fra  i  due  moderni  Tassi,  Ercole  e  Tor- 
quato. Bergamo.  1594.  4to.  [Discorsi  e  Dialoghi.] 

Part  I  is  entitled,  *'The  declaration  of  Hercules  Tasso  .  .  . 
against  marriage";  Part  ii,  "A  defence  or  answere  ...  by 
Torquato  Tasso." 

109 

1600.  Godfrey  of  Bulloigne,  or  the  Recouerie  of  Jerusalem. 
Done  into  English  heroicall  verse,  by  ^J[dward]  Fairefax. 

Imprinted  at  London  by  Ar.  Hatfield  for  J.  Jaggard  and 
M.  Lownes.  1600.  Folio.  200  leaves.  British  Museum  (2 
copies).  1624.  Folio.  British  Museum. 

Dedicated,  in  four  six-line  stanzas,  "To  her  High  Majesty," 
Queen  Elizabeth. 

The  second  edition  was  printed  at  the  express  desire  of  King 
James  I,  and  was  dedicated  to  Charles,  Prince  of  Wales. 

There  have  been  nine  subsequent  editions  of  this  excellent 
and  enduring  translation,  besides  a  reprint  of  the  third  edi- 
tion; namely:  1687.  Svo.  British  Museum.  1726.  Svo.  2  vols. 
British  Museum.  (Dublin  reprint  of  third  edition.)  1749.  Svo. 
British  Museum.  1786.  Svo.  1817.  Svo.  2  vols.  British  Mu- 
seum. (Charles  Knight.)  1817.  12mo.  2  vols.  British  Mu- 
seum. (Samuel  Weller  Singer.)  1844.  12mo.  2  vols.  British 
Museum.  (Charles  Knight.)  1853.  Svo.  2  vols.  British  Mu- 
seum.  (Routledge's  British  Poets.)   1855.   12mo.  (American 


158  ELIZABETHAN  TRANSLATIONS 


edition.)  1890.  8vo.  Carisbrooke  Library,  vii.  Edited  by 
Henry  Morley. 

Fairfax's  is  the  first  complete  translation  of  Tasso's  La 
Gerusalemme  Liberata  (PsiTmsL.  1581.  4to).  It  is  executed  with 
ease  and  spirit,  and  with  such  a  fine  poetic  feeling  withal  that 
it  often  reads  like  an  original  poem. 

"Milton  has  acknowledged  to  me  that  Spenser  was  his 
original;  and  many  besides  myself  have  heard  our  famous 
Waller  own  that  he  derived  the  harmony  of  his  numbers  from 
Godfrey  of  Bulloigne,  which  was  turned  into  English  by  Mr. 
Fairfax."  (Dry den.  Preface  to  his  Fables.) 

"Fairfax  I  have  been  a  long  time  in  quest  of.  Johnson,  in 
his  Life  of  Waller,  gives  a  most  delicious  specimen  of  him." 
"  By  the  way,  I  have  lit  upon  Fairfax's  Godfrey  of  Bullen,  for 
half-a-crown.  Rejoice  with  me."  (Charles  Lamb,  Letters  to 
Coleridge,  January  5  and  April  15,  1797.) 

For  plays  on  the  subject  of  Godfrey  of  Bulloigne,  see  Carew's 
translation,  1594. 

110 

1600.  Second  Booh  of  Songs  or  Airs  of  two,  four  and  five  parts, 
with  Tableturefor  the  Lute  or  Orpherian,  with  the  Violl  de  gamba; 
composed  by  John  Dowland,  Batchelor  of  Music,  and  Lutenist 
to  the  King  of  Denmark.  Also,  an  excellent  lesson  for  the  Lute 
and  Base  Viol,  called  Dowland' s  adew  for  Maister  Oliver  Crom- 
well. 

Published  by  George  Eastland,  and  are  to  be  sold  at  his 
house  near  the  Green  Dragon  and  Sword  in  Fleet  Street. 
1600.  Twenty-two  madrigals.  Reprinted,  in^n  English  Garner. 
Shorter  Elizabethan  Poems.  With  an  Introduction  by  A.  H. 
Bullen.  1903,  p.  101. 

Dedicated  to  "  the  Right  Honourable  the  Lady  Lucy  Coimtess 
of  Bedford,"  "from  Helsingnoure,  in  Denmark,  the  first  of 
June,"  1600. 

"Dorus  had  long  kept  silence  from  saying  somewhat  which 
might  tend  to  the  glory  of  her  in  whom  all  glory  to  his  seeming 


POETRY 


159 


was  included;  but  now  lie  brake  it,  singing  these  verses  called 
*Asclepiads'":  — 

O  sweet  woods,  the  delight  of  solitariness, 
O,  how  much  do  I  love  your  solitariness! 

From  fame's  desire,  from  love's  delight  retired, 
In  these  sad  groves  an  hermit's  life  I  lead; 

And  those  false  pleasures  which  I  once  admired. 
With  sad  remembrance  of  my  fall,  I  dread. 

To  birds,  to  trees,  to  earth,  impart  I  this. 

For  she  less  secret  and  as  senseless  is. 

Experience,  which  alone  repentance  brings. 

Doth  bid  me  now  my  heart  from  love  estrange: 

Love  is  disdain'd  when  it  doth  look  at  kings. 
And  love  low  placed  is  base  and  apt  to  change. 

There  power  doth  take  from  him  his  liberty. 

Her  want  of  worth  makes  him  in  cradle  die. 

O  sweet  woods,  etc. 
The  Countess  of  Pembroke's  Arcadia,  Book  ii.  (Folio  of  1593.) 

Sidney's  model  was  Pietro  Bembo,  Sonetto  liv:  — 

Lieta  e  chiusa  contrada,  ov*  io  m'  involo 
Al  vulgo,  e  meco  vino,  e  meco  albergo. 

See  Poems:  Amorous,  Funerall,  Divine,  Pastorall.  1616. 

John  Dowland's  First  Booke  of  Songes  or  Ayres  of  four  e  'parts, 
with  Tableture  for  the  Lute,  etc.  (1597),  was  in  its  day  the  most 
popular  musical  work  that  had  appeared  in  England.  It  came 
to  five  editions  in  sixteen  years,  and  was  reprinted  in  score  by 
the  Musical  Antiquarian  Society  in  1844.  The  songs  are  not 
madrigals  at  all,  but  simply  harmonized  tunes;  they  are  really 
the  earliest  English  glees,  and  are  still  sung  more  than  the 
compositions  of  any  other  Elizabethan  musician,  perhaps  for 
that  reason. 

Modern  musical  critics  very  generally  think  that  Dowland 
was  overrated  by  his  contemporaries,  and  Oliphant  suggests 
that  he  may  have  won  his  reputation  by  his  lute  playing.  It 
is  certainly  his  skill  as  a  lutenist  that  is  celebrated  in  Richard 
Barnfield's  sonnet  of  The  Passionate  Pilgrim  (1599) :  — 


160  ELIZABETHAN  TRANSLATIONS 


If  music  and  sweet  poetry  agree, 
As  they  must  needs,  the  sister  and  the  brother. 
Then  must  the  love  be  great  'twixt  thee  and  me. 
Because  thou  lov'st  the  one,  and  I  the  other. 
Dowland  to  thee  is  dear,  whose  heavenly  touch 
Upon  the  lute  doth  ravish  human  sense; 
Spenser  to  me,  whose  deep  conceit  is  such. 
As,  passing  all  conceit,  needs  no  defence. 
Thou  lov'st  to  hear  the  sweet  melodious  sound 
That  Phoebus'  lute  (the  queen  of  music)  makes; 
And  I  in  deep  delight  am  chiefly  drown' d 
When  as  himself  to  singing  he  betakes. 
One  god  is  god  of  both,  as  poets  feign; 
One  knight  loves  both,  and  both  in  thee  remain. 

Henry  Peacham,  alluding  to  the  neglect  of  the  lutenist  in  his 
old  age  (Minerva  Britanna;  or  A  Garden  of  Heroical  Devises, 
1612),  compares  Dowland  to  a  nightingale  sitting  on  a  briar  in 
the  depth  of  winter.  There  can  be  no  doubt  whatever  of  the 
"sweet  poetry"  of  many  of  Dowland's  songs. 

Ill 

1601.  Madrigales.  The  Triumphes  of  Oriana^  to  five  and  six 
voices:  composed  by  diuers  seuerall  aucthors.  Newly  published  by 
Thomas  Morley,  Batcheler  of  Musick  and  one  of  the  gentlemen  of 
her  Maiesties  Honorable  Chappell. 

In  London,  printed  by  Thomas  Este,  the  Assigne  of  Thomas 
Morley.  1601.  4to.  Six  parts.  Reprinted,  "  now  first  published 
in  score,"  by  William  Hawes.  London,  1818  {Dictionary  of 
National  Biography,  under  William  Hawes,  but  1815,  under 
John  Milton,  the  elder;  1814,  Grove).  Folio.  Large  paper. 
Twenty-five  copies  only.  Reprinted  in  Arber's  An  English 
Garner.  Vol.  vi  (1895).  Reprinted,  in  An  English  Garner. 
Shorter  Elizabethan  Poems.  With  an  Introduction  by  A.  H. 
Bullen,  p.  153. 

Dedicated,  by  Thomas  Morley, "  To  the  Right  Honorable  the 
Lord  Charles  Howard,  Earl  of  Nottingham,  Baron  of  Eflfing- 
ham,  Knight  of  the  Noble  Order  of  the  Garter,  Lord  High 
Admiral  of  England,  Ireland,  and  Wales,  &c.,  one  of  her 
Majesty's  most  Honorable  Privy  Council." 


POETRY 


161 


This  celebrated  collection  consists  of  twenty-five  madrigals 
in  praise  of  Queen  Elizabeth,  extolling  in  the  Italian  manner 
her  charms  of  beauty,  grace,  and  virtue.  Queen  Elizabeth  was 
at  the  time  in  her  sixty-eighth  year,  and  Sir  John  Hawkins  says 
that  the  book  was  produced  at  the  expense  of  the  Earl  of  Not- 
tingham to  soothe  the  Queen's  despair  for  the  execution  of  the 
Earl  of  Essex. 

The  musical  composers  who  contributed  to  The  Triumphes  of 
Oriana  were  Michael  Este;  Daniel  Norcome;  John  Mundy, 
Mus.  Bac;  John  Bennet;  John  Hilton,  Mus.  Bac;  George 
Marson,  Mus.  Bac;  Richard  Carlton,  Mus.  Bac;  John 
Holmes;  Richard  Nicolson;  Thomas  Tomkins;  Michael 
Cavendish;  William  Cobbold;  John  Farmer;  John  Wilbye; 
Thomas  Hunt,  Mus.  Bac;  Thomas  Weelkes;  John  Milton; 
George  Kirbye;  Robert  Jones;  John  Lisley;  Edward  Johnson. 
Each  of  these  musicians  contributed  one  madrigal.  Ellis 
Gibbons  and  Thomas  Morley  each  furnished  two  madrigals. 
The  verses  are  indifferent  poetry,  and  usually  end  with  the 
refrain,  — 

Then  sang  the  nymphs  and  shepherds  of  Diana, 
Long  live  fair  Oriana. 

Thomas  Oliphant  (La  Musa  Madrigalesca^  pp.  110,  115) 
cites  eight  of  the  madrigals.  Of  these,  John  Bennet 's  beautiful 
madrigal  illustrates  fairly  well  both  the  idea  of  the  work  and 
the  Italianate  style  of  the  poetry :  — 

Madrigal 
All  creatures  now  are  merry-minded. 

The  shepherd's  daughters  playing, 

The  nymphs  are  fa-la-la-ing; 
Yon  bugle  was  well-winded. 

At  Oriana's  presence  each  thing  smileth, 
The  flowers  themselves  discover. 
Birds  over  her  do  hover. 

Music  the  time  beguileth. 
See,  where  she  comes,  with  flow'ry  garlands  crowned; 
Queen  of  all  Queens  renowned: 


162  ELIZABETHAN  TRANSLATIONS 


Then  sang  the  nymphs  and  shepherds  of  Diana, 
Long  live  fair  Oriana. 

(Music  by  J.  Bennet.) 
Sir  George  Grove  (Dictionary  of  Music  and  Musicians)  says 
of  John  Hilton's  song:  "The  close  of  his  madrigal, 

Faire  Oriana,  Beautie's  Queene, 
shows  such  boldness  in  the  use  of  the  device  called  *nota  cam- 
hiata '  (changing  note)  that  it  is  difficult  to  imagine  it  the  work 
of  a  tyro  in  composition."  John  Hilton  died  in  1657,  and  could 
not  have  been  much  more  than  out  of  his  teens  as  a  contributor 
to  the  collection.  The  great  composer,  Thomas  Bateson,  also 
then  but  a  youth,  sent  the  madrigal, 

When  Oriana  walk'd  to  take  the  ayre, 

but  it  arrived  too  late  for  insertion.  It  was  printed  in  Bateson's 
first  set  of  madrigals  in  1604,  and  was  included  in  William 
Hawes's  edition  of  The  Triumphes  of  Oriana,  together  with 
another  madrigal  of  Bateson's,  written  after  the  death  of 
Queen  Elizabeth,  and  called  *Oriana's  Farewell.' 
Thomas  Weelkes  contributed  the  fine  madrigal,  — 
When  Vesta  was  from  Latmos  Hill  descending. 
John  Wilbye,  the  greatest  English  madrigalist,  sent 
The  Lady  Oriana 

Was  dight  in  all  the  treasures  of  Guiana. 

John  Milton,  madrigalist,  was  the  poet's  father;  he  con- 
tributed the  madrigal, 

Fayre  Oriana  in  the  morne. 

Milton  celebrated  his  father's  musical  abilities  in  the  Latin 
poem  Ad  Patremy  and  learned  from  him  to  play  the  organ. 

The  title  and  form  of  The  Triumphes  of  Oriana  was  sug- 
gested by  an  Italian  collection  of  madrigals  which  was  pub- 
lished at  the  Phalese  press  in  Antwerp  in  the  same  year.  This 
work  is  — 

II  Trionfo  di  Dori,  descritto  da  diversi  et  posti  in  musica  da 
altretanti  autori,  A  Sei  Voci. 


POETRY 


163 


Antwerp.  1601.  Reprinted,  Antwerp,  1614.  But  the  col- 
lection must  have  been  printed,  probably  in  Italy,  before  1601, 
for  some  of  the  ItaUan  composers  were  dead  at  that  time,  and 
one  of  the  madrigals  furnished  by  Thomas  Morley,  Giovanni 
Croce's, 

Ove  tra  V  herhi  e  ifiori, 

had  already  been  published  by  Nicholas  Yonge,  in  the  Second 
Book  of  Musica  Transaljpina^  1597,  adapted  to  the  words,  — 

Hard  by  a  crystal  fountain. 

II  Trionfo  di  Dori  is  a  collection  of  twenty-nine  madrigals 
written  in  praise  of  a  lady,  celebrated  under  the  name  of  Doris; 
each  madrigal  ends  with  the  acclaim. 

Viva  la  hella  Dori. 

The  madrigalisti  who  contributed  to  II  Trionfo  di  Dori  were 
Felice  Anerio;  Giovanni  Matteo  Asola;  Hippolito  Baccusi; 
Ludovico  Balbi;  Lelio  Bertani;  Pietro  Andrea  Bonini;  Paolo 
Bozi;  Giovanni  Cavaccio;  Orazio  Columbano;  Gasparo  Costa; 
Giovanni  Croce;  Giulio  Eremita;  Giovanni  Florio;  Giovanni 
Gabrieli;  Giovanni  Giacomo  Gastoldi;  Ruggiero  Giovanelli; 
Leon  Leoni;  Giovanni  de  Macque;  Luca  Marenzio;  Tiburtio 
Massaino;  Filippo  di  Monte;  Giovanni  Palestrina;  Costanzo 
Porta;  Alfonso  Preti;  Hippolito  Sabino;  Annibal  Stabili; 
Alessandro  Striggio;  Orazio  Vecchi;  and  Gasparo  Zetto. 

112 

1601.  Loues  Martyr:  or^  Rosalins  Complaint.  Allegorically 
shadowing  the  truth  of  Loue,  in  the  constant  Fate  of  the  Phoenix 
and  Turtle.  A  Poeme  enterlaced  with  much  varietie  and  raritie; 
now  first  translated  out  of  the  venerable  Italian  Torquato  Coeliano, 
by  Robert  Chester.  With  the  true  legend  of  famous  King  Arthur y 
the  last  of  the  nine  Worthies ^  being  the  first  Essay  of  a  new  Brytish 
Poet:  collected  out  of  diuerse  Authenticall  Records.  To  these  are 
added  some  new  compositions,  of  seuerall  moderne  Writers  whose 
names  are  subscribed  to  their  seuerall  workes,  upon  the  first  sub- 


164  ELIZABETHAN  TRANSLATIONS 


ject:  viz.  the  Phoenix  and  Turtle.  Mar:  —  Mutare  dominum  non 
'potest  liber  notus. 

London.  Imprinted  for  E.  B.  1601.  4to. 

Dedicated,  "To  the  Honorable,  and  (of  me  before  all  other) 
honored  Knight,  Sir  John  Salisbm-ie  one  of  the  Esquires  of 
the  bodie  to  the  Queenes  most  excellent  Maiestie." 

Loues  Martyr  was  reissued,  in  1611,  under  an  entirely  new 
title. 

The  Anuals  of  great  Brittaine.  Or,  A  Most  Excellent  Mon- 
ument, wherein  may  he  seene  all  the  antiquities  of  this  King- 
dome,  to  the  satisfaction  both  of  the  Universities,  or  any  other 
place  stirred  with  Emulation  of  long  continuance.  Excellently 
figured  out  in  a  worthy  Poem.  2  pts. 

London.  Printed  for  Mathew  Lownes.  1611.  4to.  British 
Museum.  Edited  by  A.  B.  Grosart.  Occasional  Issues,  Vol.  vii. 
1878.  4to.  Also,  the  same,  "Publisht  for  The  New  Shakspere 
Society,"  Series  viii.  Miscellanies,  No.  2,  1878.  Presented  to 
the  author  by  Dr.  Grosart,  in  1899. 

The  "new  compositions,"  "done  by  the  best  and  chiefest 
of  our  moderne  writers,"  which  follow  the  poem  are  signed 
Ignoto,  William  Shake-speare,  John  Marston,  George  Chap- 
man, and  Ben  Johnson. 

Grosart,  in  his  edition  of  Love's  Martyr,  arrives  at  the  con- 
clusion, which  is  supported  independently  by  Dr.  Brinsley 
Nicholson,  that  the  poem  is  allegorical  of  relations  supposed  to 
have  existed  between  Queen  Elizabeth  and  Robert  Devereux, 
second  Earl  of  Essex  and  Ewe.  According  to  this  interpreta- 
tion, Elizabeth  is  the  "Phoenix,"  and  Essex  the  "Turtle-dove," 
Love's  martyr.  Further,  Grosart  infers  that  Shakspere  and 
the  other  "moderne  Writers,"  who  contributed  commendatory 
verses,  sided  with  Chester  in  doing  honor  to  Essex.  Be  all 
this  as  it  may,  it  is  a  noteworthy  fact,  that,  with  the  exception 
of  the  enigmatical  poem,  Let  the  bird  of  loudest  lay,  added  to 
Chester's  Love's  Martyr,  Shakspere  wrote  no  commendatory 
verses  as  he  sought  none. 

The  name  of  the  Italian  poet  whom  Chester  cites  as  his 


POETRY 


165 


original  is  a  combination,  made  up  from  'Torquato  Tasso' 
and  *Livio  Celiano.'  It  is  conjectured  that  Chester  found  the 
'venerable  Italian  Torquato  Cceliano'  in  a  little  book,  entitled. 
Rime  di  diversi  celebri  poeti  delV  eta  nostra.  Bergamo,  1587; 
pages  95-148  of  this  collection  consist  of  poems  from  Livio 
Celiano,  and  pages  149-181  of  similar  selections  from  Torquato 
Tasso. 

After  going  over  the  whole  matter  carefully,  Grosart  was  at 
first  of  the  opinion  that  Lovers  Martyr  was  not  a  translation 
at  all,  but  only  said  to  be  so  to  heighten  the  effect  of  the  alle- 
gory. But  he  subsequently  modified  this  judgment  some- 
what: —  "My  impression  is  that  the  Dialogue  between  Nature 
and  the  Phoenix  and  Rosalin's  Complaint  and  the  Prayer 
which  follows,  are  translated;  but  probably  in  the  original 
are  separate  poems.  The  *  Arthur'  episode  is  plainly  —  by 
the  title-page  and  subject  —  original." 

Nash  and  Meres  speak  of  Celiano  as  one  of  the  chief  poets 
of  the  time,  but  excepting  the  selections  in  the  book  cited,  his 
poems  (Celiano,  Livio,  Rime,  Pavia,  1592,  Quadrio)  are  not 
known  to  be  extant. 

"I  should  like  to  have  the  Academy  of  Letters  propose  a 
prize  for  an  essay  on  Shakespeare's  poem,  Let  the  bird  of  loudest 
lay,  and  the  Threnos  with  which  it  closes,  the  aim  of  the  essay 
being  to  explain,  by  a  historical  research  into  the  poetic  myths 
and  tendencies  of  the  age  in  which  it  was  written,  the  frame 
and  allusions  of  the  poem.  I  have  not  seen  Chester's  Lovers 
Martyr,  and  *the  Additional  Poems'  (1601),  in  which  it 
appeared.  Perhaps  that  book  will  suggest  all  the  explanation 
this  poem  requires.  To  unassisted  readers,  it  would  appear 
to  be  a  lament  on  the  death  of  a  poet,  and  of  his  poetic  mis- 
tress. But  the  poem  is  so  quaint  and  charming  in  diction, 
tone,  and  allusions,  and  in  its  perfect  metre  and  harmony,  that 
I  would  gladly  have  the  fullest  illustration  yet  attainable." 
(Emerson,  Preface  to  Parnassus.  1875.) 


166  ELIZABETHAN  TRANSLATIONS 


113 

1602.  A  Poetical  Rapsody  Containing,  Diuerse  Sonnets,  Odes, 
Elegies,  Madrigalls,  and  Other  Poesies,  both  in  Rime,  and 
Measured  Verse.  Never  yet  published. 

The  Bee  and  Spider  by  a  diuerse  power, 

Sucke  Hony  and  Poyson  from  the  selfe  same  flower. 

Printed  at  London  by  V.  S.  for  John  Baily,  and  are  to  be 
solde  at  his  Shoppe  in  Chancerie  lane,  neere  to  the  Oflfice  of  the 
sixClarkes.  1602.  12mo.  Bodleian.  1608.  12mo.  1611.  12mo. 
1621.  8vo. 

Fifth  edition,  edited  by  Sir  Samuel  Egerton  Brydges.  Lee 
Priory  Press.  1814.  8vo.  3  vols. 

Sixth  edition,  edited  by  Sir  Nicholas  Harris  Nicolas,  and 
published  by  William  Pickering.  1826.  8vo.  2  vols. 

Seventh  edition,  reprint  of  first  edition,  privately  printed 
by  J.  P.  Collier,  in  Part  vii  of  Seven  English  Poeticall  Miscel- 
lanies. 1867.  4to. 

Eighth  edition,  reprint  of  first  edition,  edited  by  A.  H. 
BuUen.  1890.  8vo.  2  vols.  (Authority  consulted  here.) 

John  Chamberlain  wrote  to  Sir  Dudley  Carleton,  8  July, 
1602,  —  "It  seems  young  Davison  means  to  take  another 
course  and  turn  poet,  for  he  hath  lately  set  out  certain  Sonnets 
and  Epigrams.*' 

This  is  the  first  mention  of  A  Poetical  Rapsody,  by  Francis 
Davison,  eldest  son  of  William  Davison,  secretary  of  state  to 
Queen  Elizabeth.  To  his  own  poems  and  a  few  by  his  brother 
Walter,  Francis  Davison  made  "a  competent  volume"  by 
adding  verses  more  or  less  well  known  by  Campion,  Constable, 
Sir  John  Davies,  Donne,  Greene,  Sir  Walter  Ralegh,  Mary 
Sidney,  Countess  of  Pembroke,  Sir  Philip  Sidney,  Spenser, 
Watson,  Sir  Henry  Wotton,  and  a  few  other  poets,  some  still 
unknown. 

From  May,  1595,  to  the  close  of  1597,  "young  Davison"  was 
traveling  in  Italy.  His  letters,  together  with  those  of  his  tutor, 
Edward  Smyth,  to  Secretary  Davison,  give  many  interesting 


POETRY 


167 


details  about  Italian  travel  at  that  time,  especially  for  a  young 
man  limited  in  means  and  inclined  to  extravagance,  like 
Davison.  He  wiites  to  his  harassed  father,  who,  out  of  office 
and  in  retirement,  was  supporting  his  son  abroad  with  diffi- 
culty, —  **  If  the  letter  fall  not  out  to  your  liking,  excuse  it  by 
the  divers  matters  I  have  to  attend  unto:  writing,  speaking, 
and  reading  Italian;  desiring  to  frame  an  indifferent  style  in 
English":  Francis  Davison's  poems  show  not  wide  reading  in 
Italian  poetry.  Of  his  Inscriptions y  those  on  Thisbe,  Ajax, 
Romulus,  and  Fabritius  Curio,  are  taken  from  Luigi  Groto. 
An  Inscription  for  the  Statue  of  Dido  translates  Guarini's 
Madrigal  127, 

0  sfortunata  Dido, 

which  in  turn  renders  an  epigram  of  Ausonius, 

Infelix  Dido,  nulli  bene  nupta  marito. 
Hoc  pereunte  fugis,  hoc  fugiente  peris. 

The  first  stanza  of  A  Prosopopoeia,  beginning, 

I  dare  not  in  my  master's  bosom  rest, 

is  from  Groto. 

The  Ode,  "In  heaven  the  blessed  angels  have  their  being," 
imitates  Groto's  "Zz  augelli  in  aria,  in  acqua  i  pesci  han  loco,** 
etc.  Luigi  Groto  also  furnished  Davison  the  thought  of  his 
madrigals,  — 

"  Though  you  be  not  content," 

"  Love,  if  a  God  thou  art," 

**  In  health  and  ease  am  I," 

"  Sorrow  slowly  killeth  any," 

*'  The  wretched  life  I  live," 

**  If  this  most  wretched  and  infernal  anguish," 

and  of  his  sonnet. 

While  love  in  you  did  live,  I  only  lived  in  you. 

(See  Delle  Rime  di  Luigi  Groto,  Cieco  d'  Hadria,  1592.) 
Davison's  sonnet. 

When  trait'rous  Photine  Caesar  did  present. 


168  ELIZABETHAN  TRANSLATIONS 


is  a  translation  of  Petrarch's  Sonetto  81, 

Cesare,  poi  che  'I  tradit&r  d*  Egitto. 

His  Answer  to  her  Question,  What  Love  Was,  is  Guarini's,  in 
//  Pastor  Fido,  n,  2 :  — 

<S'  i*  miro  il  tuo  bel  viso. 
Amove  e  un  paradiso; 
Ma  s'  i'  miro  il  mio  core, 
j&  un  infernal  ardore.  j 

Guarini's  Madrigal  12, 

Occhi  stelle  mortali, 
Ministri  di  mei  mali, 

is  the  source  of  Davison's  madrigal, 

O  fair,  yet  murd'ring  eyes, 
Stars  of  my  miseries,  etc. 

"Francis  Davison's  Poetical  Rapsody  (1602)  was  the  latest 
of  those  successive  anthologies  which  for  nearly  half  a  century, 
from  the  publication  of  Tottels  Miscellany,  in  1557,  had  formed 
so  prominent  and  so  charming  a  feature  in  English  poetical 
literature.  This  series  of  anthologies  had  culminated  in 
England's  Helicon,  in  1600,  one  of  the  richest  and  most  inspired 
collections  of  miscellaneous  verse  ever  published  in  any  coun- 
try, or  at  any  time."  (Edmund  Gosse,  The  Last  Elizabethans, 
in  The  Jacobean  Poets.  1894.) 

114 

1607.  Rodomonths  Infernall,  or  The  Diuell  conquered.  Ari- 
astos  Conclusions.  Of  the  Marriage  of  Rogero  with  Bradamanth 
his  Love,  &  the  fell  fought  Battell  betweene  Rogero  and  Rodo- 
month  the  neuer-conquered  Pagan.  Written  in  French  by  Phil- 
lip de  Portes,  and  Paraphrastically  translated  by  G.[ervase] 
ilif.[arkham]. 

At  London.  Printed  by  V.  S.  for  Nicholas  Ling.  [1607.] 
8vo.  30  leaves.  British  Museum. 

A  note  in  Lowndes  says,  "It  was  printed  under  the  title  of 
Rodomonfs  Furies,  in  1606,  4to,  and  dedicated  to  Lord  Mont- 


POETRY 


169 


eagle"  [William  Parker,  fourth  Baron  Monteagle  and  eleventh 
Baron  Morley]. 

Philippe  Desportes  published,  in  1572,  Roland  Furieux,  imi- 
tation  de  VArioste.  La  Mort  de  Rodomont  ....  partie  imitee 
de  VArioste^  partie  de  Vinvention  de  Vautheur.  Angelique.  Con- 
tinuation du  sujet  de  VArioste.  Imitations  de  quelques  chans  de 
VArioste,  etc.  1572.  8vo.  British  Museum. 

In  the  last  canto  of  the  Orlando  Furioso,  Ruggiero  marries 
Bradamante,  and  kills  Rodomonte,  the  pagan  Knight,  in  single 
combat. 

115 

1608.  The  Englishmans  Doctor.  Or,  the  Schoole  of  Salerne. 
Or,  Physicall  observations  for  the  perfect  Preserving  of  the  body 
of  Man  in  continuall  health.  [Translated,  in  verse,  by  Sir  John 
Harington.] 

Printed  for  J.  Helme  and  J.  Busby,  Junior,  and  are  to  be 
solde  at  the  little  shop  near  Cliffords  Inne-gate,  in  Fleet-street. 
London,  1607,  Svo.  Also:  1609.  Svo.  1617.  Svo.  1624.  12mo. 
All  four  in  the  British  Museum. 

The  Schoole  of  Salerne,  or  Regimen  Sanitatis  Salerni,  was 
a  very  popular  work  on  hygienic  medicine,  originally  com- 
piled by  Joannes  de  Mediolano.  It  was  frequently  reprinted, 
with  additions  and  emendations,  in  Latin,  French,  and  Eng- 
lish, and  in  both  prose  and  verse.  The  first  English  edition, 
in  prose,  by  Thomas  Paynell,  went  through  seven  editions 
between  1528  and  1597.  Several  French  editions  are  done  in 
burlesque  or  macaronic  verse. 

Paynell  was  serious  when  he  Englished  the  line  from  the 
Schola  Salernitana, 

Si  coquas  antidotum  pira  sunt:  sed  crvda  venenum, 

as, 

Pears  eaten  without  wine  are  venomous; 

Being  boyl'd  or  bakt,  weake  stomachs  they  do  cheare. 


170  ELIZABETHAN  TRANSLATIONS 


116 

1608.  Ariosto's  Satyres,  in  seven  famous  discourses,  shewing 
the  State,  1.  Of  the  Court,  and  Courtiers.  2.  Of  Libertie,  and 
the  Clergie  in  generall.  3.  Of  the  Romane  clergie.  4.  Of  Mar- 
riage. 5.  Of  Soldiers,  Musifians,  and  Louers.  6.  Of  School- 
masters  and  Scholers.  7.  Of  Honour,  and  the  happiest  life.  In 
English  by  Gervase  Marhham. 

London,  Printed  by  Nicholas  Okes,  for  Roger  Jackson, 
dwelling  in  Fleet  street,  neere  the  great  Conduit.  1608.  Small 
4to.  58  leaves.  British  Museum.  Reprinted  anonymously,  in 
1611,  under  a  new  title,  — 

Ariostos  seven  Planets  Gouerning  Italie.  Or  his  satyrs  in 
seven  Famous  discourses,  shewing  the  estate,  1.  Of  the  Court 
and  Courtiers.  2.  Of  Libertie  and  the  Clergy  in  general.  3. 
Of  the  Romane  Clergie.  4-  Of  Marriage.  5.  Of  Soldiers, 
Musitians,  and  Louers.  6.  Of  Schoolemasters  and  Schollers. 
7.  Of  Honour,  and  the  happiest  life.  Newly  Corrected  and 
Augmented,  with  many  excellent  and  note  worthy  notes,  together 
with  a  new  Addition  of  three  most  excellent  Elegies,  written  by 
the  same  Lodovico  Ariosto,  the  effect  whereof  is  contained  in  the 
Argument.  Qui  te  sui  te  sui. 

London.  Printed  by  William  Stansby  for  Roger  Jackson, 
dwelling  in  Fleete  streete  neere  the  Conduit.  1611.  Small  4to. 
British  Museum.  Bodleian. 

There  is  no  difference  between  the  two  editions  of  the  Satires, 
except  in  the  titles,  and  in  the  three  Elegies  appended  to  the 
second  edition,  with  a  new  pagination. 

The  translation  is  claimed  by  Robert  Tofte  in  his  Epistle  to 
the  Courteous  Reader  prefixed  to  the  Blazon  of  Jealousie.  1615. 

Tofte's  order  of  the  Satires  is  different  from  that  of  modern 
editions  of  Ariosto,  and  his  titles  are  not  transparently  clear. 
The  first  Epistle,  which  is  addressed  to  the  poet's  brother, 
Galasso  Ariosto,  treats  of  a  proposed  journey  to  Rome;  the 
second  gives  the  reasons  why  Ariosto  declined  to  accompany 
Cardinal  Ippolito  d'  Este  to  Hungary;  the  subject  of  the  third 


POETRY 


171 


is  the  choice  of  a  wife;  the  fourth  compares  the  vanity  of 
honors  and  riches  with  the  peace  of  a  contented  mind;  the 
fifth  shows  how  Ariosto  chafed  under  his  uncongenial  duties 
as  governor  of  Garfagnana;  the  sixth  explains  why  he  declined 
to  seek  advancement  from  Pope  Clement  VII.;  the  seventh, 
written  to  Cardinal  Bembo,  is  upon  the  education  of  his  son, 
Virginio,  and  contains  an  interesting  account  of  Ariosto's  own 
education  and  early  struggles. 

All  the  Epistles  are  more  or  less  autobiographical,  and  re- 
veal Ariosto  as  man  and  poet  in  a  most  attractive  Ught,  frank, 
sincere,  and  genially  satirical. 

117 

1608,  Musica  Sacra  to  Sixe  Voyces.  Composed  in  the  Italian 
tongue  by  Giovanni  Croce.  Newly  Englished. 

In  London.  Printed  by  Thomas  Este,  the  assigne  of  William 
Barley,  1608.  4to.  British  Museum,  1611.  4to. 

The  only  clue  to  the  translator  is  a  preface,  "To  the  vertuous 
Louers  of  Musicke,"  signed  *'R.  H.;"  it  states  that  the  sonnets 
here  set  to  music  were  written  in  Italian  by  Francesco  Bembo, 
and  were  so  admired  by  Croce  that  he  decided  on  setting  them 
to  music. 

In  Lowndes,  the  title  reads,  Musica  Sacra^  the  Seven  Peni- 
tential Psalms  to  sixe  voyces^  1608,  6  pts.,  and  a  note  from 
Peacham  confirms  the  subtitle,  —  "Then  that  great  Master 
[Giovanni  Croce]  and  Master  not  long  since  of  S.  Markes 
Chappell  in  Venice;  second  to  none,  for  a  full,  lofty  and 
sprightly  veine,  following  none  save  his  owne  humour:  who 
while  he  lived  was  one  of  the  most  free  and  brave  Companions 
of  the  World.  His  Penitentiall  Psalmes  are  excellently  com- 
posed, and  for  piety  are  his  best." 

(Henry  Peacham,)  The  Compleat  Gentleman.  Tudor  and 
Stuart  Library.  London,  1906,  p.  102. 


172  ELIZABETHAN  TRANSLATIONS 


118 

1608.  Ayres  or  Phantasticlce  Spiritesfor  three  voices,  made  and 
newly  published  by  Thomas  Weelkes,  Gentlemen  of  His  Majesties 
Chappell,  Batchelar  of  Musicke,  and  organest  of  the  Cathedral 
Church  of  Chichester.  [With  a  song,  A  Remembrance  of  my 
friend,  Mr.  Thomas  Morley,  for  six  voices,  in  three  parts.] 

London,  printed  by  W.  Barley,  and  are  to  be  sold  at  his 
shoppe  in  Gracious  (Gracechurch)  Street.  1608. 

A  set  of  twenty-six  pieces,  mostly  comic. 

Dedicated  to  "The  Right  noble  and  most  worthy  Edward, 
Lord  Denny,  Baron  of  Waltham,  to  whom  T.  Weelkes  wisheth 
the  happiness  of  both  worlds.'* 

I  bei  ligustri  e  rose, 

Ch'  in  vol  Natura  pose. 

Donna  gentil,  mifann'  ogn'  hor  morire; 

Si  grave  e  la  mia  pena,  el  mio  martire. 

The  English  version  of  this  stanza  is  set  to  music  in  Weelkes, 
Madrigals  to  three,  four,  five,  or  six  Voyces  (1597), 
"  Those  sweet  delightful  lillies." 

It  is  also  in  Thomas  Bateson's  first  set  of  madrigals  (1604). 
Weelkes's  Remembrance  of  Thomas  Morley,  was  originally 
entitled,  "A  Dump  upon  the  death  of  the  most  noble  Henry, 
late  Earl  of  Pembroke,"  and  was  written  by  John  Davies  of 
Hereford. 

119 

1609.  The  Famous  Whore,  or  Noble  Curtizan:  conteining  the 
lamentable  complaint  of  Paulina,  the  famous  Roman  Curtizan, 
sometime  m«» .  unto  the  great  Cardinall  Hypolito  of  Est.  By  Garvis 
Markham.  [Translated  into  verse  from  the  Italian.  Lowndes.] 

London.  Printed  by  N.  0[kes]  for  John  Budge,  and  are 
to  be  sold  at  his  shop  by  the  great  South  gate  of  Paules. 
1609.  4to.  Twenty-one  leaves.  British  Museum. 

The  Famous  Whore,  or  Noble  Curtizan,  by  Gervase  or  Jervis 
Markham,  1609.  Edited  by  Frederick  Ouvry. 


POETRY 


173 


London.  Privately  printed.  1868.  4to. 

J.  P.  Collier  describes  The  Famous  Whore,  in  his  account  of 
the  Ellesmere  collection  (Bibliographical  and  Critical  Account 
of  the  Rarest  Books  in  the  English  Language,  under  Markham), 
but  says  nothing  about  its  being  translated  from  the  Italian, 
as  Lowndes  and  the  Dictionary  of  National  Biography  agree. 

Cardinal  Ippolito  of  Este  was  the  first  patron  of  Ariosto, 
and  so  indifferent  a  one  that  all  the  reward  the  poet  received 
for  dedicating  to  him  the  Orlando  Furioso  was  the  question, 
Dove  avete  trovato,  messer  Lodovico,  tante  minchionerie  ?  *  Where 
did  you  find  so  many  trifles,  Master  Ludovic?'  Paulina  quotes 
Ariosto  and  refers  to  him  and  his  stories  several  times. 

120 

1609.  The  Second  Set  of  Madrigales  to  three,  four,  five,  and  six 
parts,  apt  both  for  Voyals  and  Voyces,  newly  composed  by  John 
Wilbye. 

1609.  Printed  by  Thomas  Este,  alias  Snodham,  for  John 
Browne,  and  are  to  be  sould  at  his  shop  in  S.  Dunstone's 
Churchyard,  in  Fleet  Street.  4to.  Six  Parts.  Thirty-four 
compositions.  Reprinted,  in  score,  and  edited  by  G.  W.  Budd, 
for  the  Musical  Antiquarian  Society.  1846.  Folio. 

Dedicated,  by  John  Wilbye,  "To  the  most  noble  and  virtu- 
ous Lady,  the  Lady  Arabella  Stuart." 

Madrigal 

I  live,  and  yet  methinks  I  do  not  breathe; 

I  thirst  and  drink,  I  drink  and  thirst  again; 

I  sleep  and  yet  do  dream  I  am  awake; 

I  hope  for  that  I  have;  I  have  and  want: 

I  sing  and  sigh;  I  love  and  hate  at  once. 
O,  tell  me,  restless  soul,  what  uncouth  jar 
Doth  cause  in  store  such  want,  in  peace  such  war? 

Risposta 

There  is  a  jewel  which  no  Indian  mines 
Can  buy,  no  chymic  art  can  counterfeit; 
It  makes  men  rich  in  greatest  poverty; 


174  ELIZABETHAN  TRANSLATIONS 


Makes  water  wine,  turns  wooden  cups  to  gold. 
The  homely  whistle  to  sweet  music's  strain : 
Seldom  it  comes,  to  few  from  heaven  sent, 
That  much  in  little,  all  in  naught  —  content. 

Imitated  from  Petrarch,  Sonetto  90,  Parte  Prima, 

Pace  non  trovo»  e  non  ho  da  far  guerra  ; 

Professor  Felix  E.  Schelling,  who  prints  this  madrigal 
{Elizabethan  Lyrics,  p.  148)  under  the  suggested  caption,  "  All 
in  Naught "  does  not  recognize  the  influence  of  Petrarch  in  it, 
but  he  notices  that  the  two  seven-line  stanzas  really  retain  the 
sonnet  form. 

For  other  Elizabethan  variations  on  the  theme,  see  Thomas 
Watson's  Passionate  Centurie  of  Love.    Passion  xl. 

Madrigal 

Softly,  oh!  drop,  mine  eyes,  lest  you  be  dry. 

And  make  my  heart  with  grief  to  melt  and  die. 

Now  pour  out  tears  apace,  — 

Now  stay,  —  O  heavy  case! 

Alas !  O  sour-sweet  woe ! 

O  grief!  O  joy!  why  strive  you  so? 

Can  pain  and  joy  in  one  poor  heart  consent? 

Then  sigh  and  sing,  rejoice,  lament. 

Ah  me!  O  passion  strange  and  violent! 

Was  never  wretch  so  sore  tormented: 

Nor  joy,  nor  grief,  can  make  my  heart  contented. 

For  while  with  joy  I  look  on  high, 

Down,  down  I  fall  with  grief  —  and  die. 

The  antithesis  sour-sweet  is  nearly  akin  to  the  dolcezze  ama- 
rissime  d'  amore  of  Guarini's  Pastor  Fido.  So  Catullus, 

Sancte  fuer,  curis  hominum  qui  gaudia  misces. 

Compare  also  George  Herbert's  poem  Bitter-Sweet, 

Madrigal 

Change  me,  O  Heaven,  into  the  ruby  stone 

That  on  my  love's  fair  locks  doth  hang  in  gold: 

Yet  leave  me  speech,  to  her  to  make  my  moan; 
And  give  me  eyes,  her  beauty  to  behold. 


POETRY 


175 


Or,  if  you  will  not  make  my  flesh  a  stone. 

Make  her  hard  heart  seem  flesh,  that  now  seems  none. 

A  concetto  from  the  Italian,  — 

Cangiami,  0  del  pietoso,  in  quesio  sasso, 

E  si  di  came  sasso  non  vuoifarmi. 
Fa  di  Madonna  il  car  de  sasso  carnCy 

Wilbye's  Second  Set  contains  the  beautiful  madrigals, 

**  Sweet  honey-sucking  bees," 
**  Down  in  a  valley  as  Alexis  trips," 
**  Stay,  Corydon,  thou  swain,"  and 
"Draw  on,  sweet  night." 

"I  feel  no  hesitation  in  calling  John  Wilbye  the  first  of 
madrigal  writers.  I  except  not  even  the  great  Luca  Marenzio 
himself ;  for  albeit  there  are  six  or  seven  hundred  of  his  madri- 
gals extant,  and  only  sixty-four  by  Wilbye,  none  of  the 
former  in  my  opinion  can  compare  with 

*'  *  Sweet  honey-sucking  bees,* 
**  *  Flora  gave  me  fairest  flowers,* 
"  *  Down  in  a  valley,'  or 
**  *  Draw  on,  sweet  night.' " 

(Oliphant,  La  Musa  Madrigalesca,  p.  174.) 

121 

1609.  A  Musicall  Dreame,  or  the  Fourth  Booke  of  Ay  res;  the 
first  part  is  for  the  Lute,  two  voyces  and  the  Viole  de  Gambo;  the 
second  part  is  for  the  Lute,  the  Viole,  and  the  four  voyces  to  sing; 
the  third  part  is  for  one  voyce  alone,  or  to  the  Lute,  the  Base  Viole, 
or  to  both  if  you  please,  whereof  two  are  Italian  Ayres.  [By 
Robert  Jones.]  London.  1609. 

Robert  Jones  contributed  to  The  Triumphes  of  Oriana  (1601) 
the  madrigal,  — 

Faire  Oriana,  seeming  to  wink  at  folly, 

and  published  six  song-books  between  1601  and  1610.  In  the 
first  one.  The  First  Booke  of  Ayres  (1601),  occurs  the  song 
called  (Percy,  Reliques  of  Ancient  English  Poetry,  i,  ii,  124) 


176  ELIZABETHAN  TRANSLATIONS 

Corydoii's  Farewell  to  Phyllis,  of  which  Sir  Toby  Belch  and 
Feste  sing  snatches  in  the  admirable  fooling  of  Twelfth  Night, 
(ii,  3).  The  fooling  runs  through  two  stanzas  out  of  five,  — 

Farewell,  dear  love!  since  thou  wilt  needs  be  gone: 
Mine  eyes  do  show  my  life  is  almost  done. 

—  Nay  I  will  never  die. 
So  long  as  I  can  spy; 
There  be  many  mo 
Though  that  she  do  go. 

There  be  many  mo,  I  fear  not; 
Why,  then,  let  her  go,  I  care  not.  — 

Farewell,  farewell!  since  this  I  find  is  true, 
I  will  not  spend  more  time  in  wooing  you. 

—  But  I  will  seek  elsewhere 
If  I  may  find  her  there. 
Shall  I  bid  her  go? 
What  and  if  I  do? 

Shall  I  bid  her  go  and  spare  not? 
O  no,  no,  no,  no,  I  dare  not. 

The  stanzas,  which  are  also  found  in  the  popular  miscellany. 
The  Golden  Garland  of  Princely  Delights  (1620;  13th  edition, 
1690),  are  the  conventional  love  poetry  of  the  time  and  are  no 
way  remarkable.  Jones  printed  them,  apparently  for  the  first 
time,  but  he  did  not  write  them,  for  he  says  of  his  songs,  "If 
the  ditties  dislike  thee,  't  is  my  fault  that  was  so  bold  to  publish 
the  private  contentments  of  divers  gentlemen  without  their 
consents,  though,  I  hope,  not  against  their  wils."  Robert 
Jones,  whoever  he  was,  was  a  musician  with  a  fine  literary 
taste.  Many  of  the  "private  contentments"  in  this  as  well  as 
in  his  other  song-books  are  exquisite  poetry,  and  that  poetry 
of  such  a  high  degree  of  perfection  should  have  been  put  forth 
anonymously  shows,  as  nothing  else  can  show  so  well,  what  a 
"nest  of  singing  birds"  the  Elizabethans  were.  It  was  fairly 
the  mark  of  an  educated  gentleman  in  Elizabeth's  time  to  be 
able  to  write  good  songs  and  sonnets. 


POETRY 


177 


122 

1610.  A  Musicall  Banquet.  Furnished  with  varietie  of  deli- 
cious AyreSy  collected  [by  Robert  Dowland]  out  of  the  best 
Authors  in  English,  French,  Spanish,  and  Italian. 

Printed  for  T.  Adams,  London,  1610,  folio.  British  Mu- 
seum. 

Dedicated  to  Sir  Robert  Sidney,  godfather  to  the  author, 
who  was  the  son  of  John  Dowland,  the  lutenist. 

123 

1611.  The  Tragicall  Death  of  Sophonisba.  Written  by  David 
Murray.  Scotto-Brittaine. 

At  London.  Printed  for  John  Smethwick,  and  are  to  be 
sold  at  his  shop  in  Saint  Dunstans  Churchyard  in  Fleetstreet, 
under  the  Diall.  1611.  8vo. 

Dedicated  in  two  sonnets  to  Prince  Henry.  At  the  close  of 
Sophonisba,  occurs  with  a  new  title,  — 

Ccelia:  containing  certaine  Sonets.  By  David  Murray,  Scoto- 
Brittaine. 

At  London.  Printed  for  John  Smethwick,  and  are  to  be 
sold  at  his  shop  in  Saint  Dunstans  Church-yard,  in  Fleet 
street,  under  the  Diall.  1611.  8vo.  British  Museum. 

Dedicated  to  Richard,  Lord  Dingwell. 

Reprinted  for  the  Bannatyne  Club,  and  edited  by  Thomas 
Kinnear.  Edinburgh.  1823.  4to.  British  Museum. 

Sophonisba  is  a  long  poem  in  seventeen  seven-line  stanzas 
not  always  smoothly  constructed,  although  there  is  an  occa- 
sional burst  into  genuine  poetry,  as  we  have  so  good  an 
authority  as  Michael  Drayton,  in  an  introductory  sonnet,  to 
testify,  — 

To  my  kinde  friend.  Da.  Murray 
In  new  attire,  and  put  most  neatly  on. 

Thou,  Murray,  mak'st  thy  passionate  Queene  appeare. 
As  when  she  sat  on  the  Numidian  throne, 

Deck't  with  those  gems  that  most  refulgent  were. 


178  ELIZABETHAN  TRANSLATIONS 


So  thy  strong  Muse  her,  maker  like,  repaires. 

That  from  the  ruins  of  her  wasted  urne. 
Into  a  body  of  deHcious  ayres 

Againe  her  spirit  doth  transmigrated  turne. 
That  scortching  soile  which  thy  great  subject  bore. 

Bred  those  that  coldly  but  express'd  her  merit; 
But  breathing  now  upon  our  colder  shore. 

Here  shee  hath  found  a  noble  fiery  spirit: 
Both  there  and  here,  so  fortunate  for  Fame, 
That  what  she  was,  she 's  every  where  the  same. 

M.  Drayton. 

Coelia  consists  of  a  collection  of  twenty-six  sonnets  after 
the  Italian  model,  a  pastoral  ballad  called  The  Complaint  of 
the  Shepheard  Harpalus,  and  an  '  Epitaph  on  the  Death  of  his 
Deare  Cousin  M.  Dauid  Moray.' 

The  author  is  Sir  David  Murray  of  Gorthy,  1567-1629. 

The  romance  of  Sophonisba  appeared  first  in  English  in 
Painter's  Palace  of  Pleasure,  where  it  is  the  seventh  novel  of 
the  second  volume  (1567).  It  is  found  in  Italian  in  Bandello, 
I,  41,  in  Petrarch's  Trionfi,  and  it  is  the  subject  of  the  first  two 
Italian  tragedies.  La  Sofonisba  (1502),  by  Galeotto  del  Canetto, 
a  piece  in  fifteen  or  twenty  acts,  regardless  of  unity  of  scene, 
is  the  earliest  Italian  tragedy.  But  the  play  that  is  usually 
associated  with  the  beginning  of  tragedy  in  Italian  —  that  with 
which  "th'  Italian  scene  first  learned  to  glow,"  is  La  Sofonisba, 
by  Giovan  Giorgio  Trissino,  acted  in  1515  before  Pope  Leo  X. 
Trissino's  play  is  written  in  blank  verse  {verso  sciolto),  instead 
of  the  ottava  and  terza  rima  of  the  earlier  tragedies. 

Marston  first  dramatized  the  theme  in  English,  in  The 
Wonder  of  Women,  or  Sophonisba  her  Tragedy  (1606.  4to). 

Later  two  other  English  plays  are  founded  on  it,  — 

Sophonisba,  or  HannibaVs  Overthrow  (1676.  Nathaniel  Lee). 

Sophonisba,  by  James  Thomson,  first  acted  February  28, 
1730. 

See  Painter's  Palace  of  Pleasure  (1566),  and  Bandello  (1580). 


POETRY 


179 


124 

1612.  Petrarch's  seven  Penitentiall  Psalms,  paraphrasticaUy 
translated.  With  other  Philosophicall  Poems,  and  a  Hymne  to 
Christ  upon  the  Crosse.  Written  by  George  Chapman.  [Mot- 
toes from  Arrian's  Epictetus.] 

London.  Imprinted  by  Matthew  Selman  dwelling  in  Fleete- 
streete  neare  Chancerie  Lane.  1612.  4to.  50  leaves.  Bodleian. 
A  translation  of  Petrarch's  Septem  Psalmi  Poenitentiales. 

125 

1613.  The  First  Set  of  English  Madrigals  to  three,  four,  five, 
and  six  parts,  apt  both  for  Viols  and  Voyces.  With  a  Mourning 
Song  in  memory  of  Prince  Henry.  [By  John  Ward.] 

Printed  by  Thomas  Snodham.  London.  1613.  4to.  Six 
parts,  the  words  and  music  for  each  voice  being  printed 
separately.  Twenty-eight  madrigals. 

Dedicated,  "To  the  Honourable  Gentlemen,  and  my  very 
good  Maister,  Sir  Henry  Fanshawe,  Knight." 

Madrigal 

Phillis  the  bright,  when  frankly  she  desired 
Thirsis  her  sweetheart  to  have  expired; 
Sweet,  thus  she  fell  a  crying. 
Die,  for  I  am  dying. 

These  words  are  from  the  Italian,  and  are  to  be  found  in 
Morley's  Canzonets,  or  little  short  Songs  to  four  Voices  (1597). 

Madrigal 
Hope  of  my  heart! 

Oh,  wherefore  do  the  words 

Which  your  sweet  tongue  affords^ 
No  hope  impart? 

But  cruel  without  measure. 
To  my  eternal  pain, 
Still  thunder  forth  disdain 

On  him  whose  life  depends  upon  your  pleasure. 


180  ELIZABETHAN  TRANSLATIONS 


This  madrigal  is  the  second  stanza  of  an  ode  by  Francis 
Davison,  entitled, — 

Being  depriued  of  her  sweete  looJces,  wordes  and  gestures,  by  his 
absence  in  lialie,  he  desireth  her  to  write  unto  him. 

"Hope  of  my  heart,"  a  madrigal  for  five  voices,  was  arranged 
by  Thomas  Oliphant  and  republished  in  1847. 

The  words  of  Ward's  madrigals  are  very  often  fine  selections 
from  the  Eclogues  of  Michael  Drayton  {Poems  Lyrick  and 
Pastor  all:  Odes,  Eglogs,  the  Man  in  the  Moone).  His  best  song, 
which  is  still  sung,  is  the  madrigal,  — 

Die  not,  fond  man,  before  thy  day; 

Love's  cold  December 

Will  surrender 
To  succeeding  jocund  May. 

126 

1615.  The  Blazon  of  lealousie.  A  Subject  not  written  of  by  any 
heretofore.  First  written  in  Italian,  by  that  learned  Gentleman 
Benedetto  Varchi,  sometimes  Lord  Chancellor  unto  the  Signorie  of 
Venice:  and  translated  into  English,  with  speciall  Notes  upon  the 
same,  by  i?.[obert]  r.[ofte]  Gentleman. 

London.  Printed  by  T.  S.  for  John  Busbie,  and  are  to  be 
sould  at  his  shop  in  S.  Dunstan's  Church -yard  in  Fleet  street. 
1615.   4to.  Pp.  87  +  14.  British  Museum. 

Dedicated,  "To  Sir  Edward  Dymock  Knight,  the  most 
worthy  and  generous  champion  imto  the  Sacred  Maiestie  of 
Great  Britaine,  etc.'* 

Tofte's  marginal  Notes  are  more  interesting  than  his  poem. 
He  quotes,  to  illustrate  his  text,  among  other  writers,  —  Chap- 
man :  Hero  and  Leander  and  Hymnus  in  Cynthiam,  Spenser :  The 
Faerie  Queene,  Constable :  Diana,  Drayton :  Mortimeriados,  and 
Wither:  Abuses  Stript  and  Whipt. 

The  Epistle  "To  the  Courteous  Reader"  praises  Gascoigne 
and  Turberville  pleasantly,  "  since  they  first  brake  the  Ice  for 
our  quainter  Poets,  that  now  write,  that  they  might  the  more 
safer  swimme  in  the  maine  Ocean  of  sweet  Poesie." 


POETRY 


181 


Referring  to  Markham's  plagiarism  Tofte  says,  —  "I  had 
thought  for  thy  better  contentment  to  have  inserted  (at  the 
end  of  this  Booke)  the  disasterous  fall  of  three  noble  Romane 
Gentlemen  ouerthrowne  thorow  lealousie,  in  their  Loues;  but 
the  same  was  (with  Ariosto's  Satyres  translated  by  mee  out  of 
Italian  into  English  Verse,  and  Notes  upon  the  same)  printed 
without  my  consent  or  knowledge,  in  another  man's  name: 
so  that  I  might  justly  (although  not  so  worthily)  complaine 
as  Virgil  did:  Hos  ego  versiculos  fed,  tulit  alter  honores.''  Ap- 
pended to  The  Blazon  ofJealousie  is  an  original  poem  by  Tofte, 
entitled,  The  Fruits  of  Jealousie,  or  A  Loue  {but  not  louing) 
Letter. 

The  Blazon  of  Jealousie  was  first  delivered  by  Varchi  as  an 
oration  before  the  academy  of  the  Injiammati  at  Padua.  It 
was  then  published  by  the  author's  friend,  Francesco  Sanso- 
vino,  who  dedicates  it  "to  the  no  lesse  noble  than  faire,  and 
yet  not  more  faire  than  learned,  the  Lady  Gaspara  Stampa." 

Of  women  Petrarchists,  Gaspara  Stampa,  "sweet  songstress 
and  most  excellent  musician,"  ranks  among  the  first. 

Benedetto  Varchi  was  an  Italian  poet  and  historian  of  high 
repute,  and  a  friend  to  Cosimo  dei  Medici,  first  grand  duke  of 
Tuscany.  He  wrote  the  oration  for  the  funeral  of  Michael 
Angelo,  in  1564. 

127 

1616.  Poems:  Amorous,  Funerall,  Divine,  Pastorall:  in 
Sonnets,  Songs,  Sextains,  Madrigals:  By  W.  D.  [William  Drum- 
mond].  Author  of  the  Teares  on  the  Death  of  Moeliades. 

Edinburgh.  Printed  by  Andro  Hart.  1616.  4to.  Also: 
1616.  4 to.  Second  edition.  British  Museum.  Bodleian:  Lon- 
don. 1656.  Svo.  224  pp.  British  Museum.  With  portrait  by 
R.  Gaywood.  Edited  by  Edward  Phillips,  Milton's  nephew: 
London.  1659.  Svo  (duplicate  of  preceding).  British  Museum: 
Edinburgh.  1711.  Folio.  British  Museum  (Bishop  Sage  and 
Thomas  Ruddiman) :  London.  1791.  Svo.  British  Museum: 
1793.  Svo.  (Anderson's  Poets  of  Great  Britain.)  British  Mu- 


182  ELIZABETHAN  TRANSLATIONS 


seum:  1810.  8vo.  (Chalmer's  English  Poets.)  British  Museum: 
Edinburgh.  1832.  4to.  British  Museum  (for  the  Maitland 
Club,  by  Lord  Dundrennan  and  David  Irving).  London.  1833. 
12mo.  British  Museum  (Peter  Cunningham).  Edinburgh. 
1852.  8vo.  British  Museum.  London.  1856.  8vo.  British  Mm- 
5ewm(W.B.Turnbull).  London.  1894.  2  vols.  (W.C.Ward). 
Sonnet,  of  Poems,  The  First  Part, 

Sleep,  Silence*  child,  sweet  father  of  soft  rest. 

The  invocation  is  imitated  from  Marini's  0  del  Silentiofiglio. 
Compare  Daniel,  Sonnet  liiii,  of  Delia, 

Care-charmer  Sleepe,  sonne  of  the  sable  Night, 
Sonnet,  of  Poems,  The  First  Part, 

Dear  wood,  and  you,  sweet  solitary  place, 

as  well  as  the  sonnet,  entitled  The  Praise  of  a  Solitary  Life, 
from  Urania,  or  Spiritual  Poems, 

Thrice  happy  he,  who  by  some  shady  grove, 

are  to  be  found  in  substance  in  the  three  *Asclepiadics'  sung 
by  Dorus  at  the  close  of  the  second  book  of  Sidney's  Arcadia 
(folio  of  1593), 

O  sweet  woods,  the  delight  of  solitarinesse, 

Sidney's  model  was  Pietro  Bembo,  Sonetto  liv, 

Lieta  e  ckiusa  contrada,  (yv*  io  m'  involo 
Al  vulgo,  e  meco  vivo,  e  meco  alhergo 

The  lutenist,  John  Dowland,  set  to  music  Sidney's 

O  sweet  woods,  the  delight  of  solitarinesse, 

in  his  book  of  madrigals,  entitled.  Second  Book  of  Songs,  or  Airs 
of  two,  four,  and  five  farts,  with  Tahleture  for  the  Lute  or  Orphe- 
rian,  with  the  Violl  de  gamba.  1600. 
Sonnet,  of  Poems,  The  First  Part,  — 

Alexis,  here  she  stayed;  among  these  pines. 

Compare  this  sonnet  with  Petrarch,  Sonetto  lxxii.  Parte 
prima, 

Avventuroso  piU  d*  altro  terreno 


POETRY  183 

Dmmmond's  closing  couplet,  — 

But  ah!  what  served  it  to  be  happy  so 
Sith  passed  pleasures  double  but  new  woe? 

was  probably  recollected  from  Dante's  beautiful  and  pathetic 
story  of  Paolo  and  Francesca,  — 

Nessun  maggior  dolorcy 

Che  ricordarsi  del  tempo  felice 

Nella  miseria; 

{Inferno,  Canto  v,  121-23.) 

The  sentiment  occurs  in  English,  however,  before  Drum- 
mond,  in  Chaucer,  Troylus  and  Cryseyde,  lib.  iii,  ccxxvi :  — 

For,  of  fortunes  scharp  adversite 

The  worste  kynde  of  infortune  is  this, 

A  man  to  han  ben  in  prosperite, 

And  it  remembren,  when  it  passed  is. 

And  also  in  the  old  play,  The  Misfortunes  of  Arthur^  by 
Thomas  Hughes,  1587,  — 

Of  all  misfortunes  and  unhappy  fates 

Th'  unhappiest  seemes  to  have  been  happy  once; 

Tennyson,  in  Locksley  Hall,  has  put  Chaucer's  four  lines 
into  one  imperishable  verse, 

A  sorrow's  crown  of  sorrow  is  remembering  happier  things. 
Sonnet,  of  Poems,  The  Second  Part, 

Sweet  soul,  which  in  the  AprO  of  thy  years. 
Compare  with  this,  Petrarch,  Sonetto  lxviii,  Parte  seconda, 
Dolce  mio  caro  e  prezioso  pegno. 

Sonnet,  of  Flowers  of  Sion,  called  by  Main,  The  Sheep- 
heards, 

O  than  the  fairest  Day,  thrice  fairer  Night! 

The  last  verse  of  this  sonnet. 

And  Springs  ranne  Nector,  Honey  dropt  from  Trees, 

is  taken  from  Daniel's  Pastoral,  in  Delia,  — 

O  Happie  golden  Age! 
Not  for  that  Riuers  ranne 

With  streames  of  milke,  and  hunny  dropt  from  trees; 


184  ELIZABETHAN  TRANSLATIONS 


Daniel  translated  from  Tasso's  Aminta,  0  bella  eih  deW  oro. 
See  Torquato  Tasso's  Aminta  Englisht  (1628). 
Sonnet,  of  Flowers  of  Sion,  To  a  Nightingale, 

Sweet  bird,  that  sing'st  away  the  early  hours. 

This  sonnet  is  in  part  an  echo  of  Petrarch,  Sonetto  lxxxix, 
Parte  seconda, 

Vago  augellettOy  che  cantando  vai. 

Compare  also,  Pietro  Bembo,  Sonetto  iii, 

Vago  augellettOy  cK  al  mio  bet  soggiomo, 

Drummond's  Italian  studies  (he  also  wrote  English  sestinas) 
help  to  explain  that  interesting  crux,  his  authorship  of  Polemo- 
Middinia.  Carmen  Macaronicum.  (1691.  4to.)  This  satiri- 
cal poem,  considering  its  length  and  its  seriousness  of  literary 
purpose,  is  the  earliest  imitation  in  English  of  the  macaronic 
or  dog-Latin  verse  of  Teofilo  Folengo.  There  seems  little 
doubt  but  that  Drummond  was  the  author,  nor  indeed  is  it 
any  more  curious  that  such  an  accomplished  poet  should  have 
written  a  macaronic,  than  that  he  should  have  taken  out  a 
patent  "for  the  making  of  military  machines,"  Thundering 
Rods,  Shooting  Pikes,  Fiery  Waggons,  Sea-postilions,  Levia- 
thans, and  like  engines  of  death  and  destruction. 

It  is  possible  that  the  title  of  Drummond's  longest  poem, 
Forth  Feasting,  is  derived  from  Marini's  Tebro  Festante,  a  poem 
on  the  election  of  Alessandro  de'  Medici,  Pope  Leo  XI.  Tehro 
Festante  is  a  panegyric  on  two  former  Popes  of  the  Medici 
family,  Leo  X  and  Clement  VII;  Drummond  describes  Forth 
Feasting  as  a  "panegyric  to  the  King's  Most  Excellent  Ma- 
jesty." 

Phyllis 
In  petticoat  of  green 
Her  hair  about  her  eyne, 
Phyllis  beneath  an  oak 
Sat  milking  her  fair  flock: 
*Mongst  that  sweet-strained  moisture,  rare  delight. 
Her  hand  seemed  milk,  in  milk  it  was  so  white. 

{Madrigals  and  Epigrams,  Ed.  1656.) 


POETRY 


185 


This  pretty  little  pastoral  renders  Marini*s  madrigal,  — 

Ninfa  Mungitrice 
Madrigale 

Merdre  Lidia  premea, 

Dentro  rustica  coppa 
A  la  Lanuta  la  seconda  poppa, 
r  staua  a  rimarar  doppio  candore 

Di  Natura,  e  d  'Amore; 

Ne  distinguer  sapea 
II  hianca  humor y  da  le  sue  mani  intattey 
CK  altro  non  discerneay  che  latte  in  latte. 
{Rime  del  MarinOy  Seconda  Parte,  Madrigali  e  Canzoni,  In  Venetia, 
Presso  Bernardo  Giunti,  1611.) 

128 

1620.  The  Maidens  Blush,  or,  Joseph,  Mirror  of  Modestie, 
Map  of  Pietie,  Maze  of  Destinie,  Or  rather  Divine  Providence, 
.  .  .  From  the  Latin  of  Fracastorius,  translated  .  .  .hy  J.  Sylvester. 

Printed  by  H.  L.,  London.  1620.  Svo.  British  Museum, 
Also,  1879.  4to.  The  Complete  Works  of  Joshua  Sylvester. 
Part  XXIV.  The  Chertsey  Worthies'  Library.  A.  B.  Grosart. 

Dedicated  to  the  "High  HopefuU  Charles,  Prince  of  Wales." 

The  Maiden's  Blush,  or  Joseph,  is  a  translation  of  a  Latin 
poem,  in  two  books,  entitled  Joseph,  from  the  Poemata  Varia, 
1591,  of  Girolamo  Fracastoro.  The  subject  is  the  story  of 
Joseph,  and  Sylvester  tells  it,  incompletely,  in  eighteen  hun- 
dred pentameter  lines,  riming  in  couplets.  The  concluding 
couplet  runs,  — 

Here,  Death  preventing  Fracastorious, 
This  late  begun,  He  left  un-ended  Thus. 

129 

1623.  The  Whole  Worhes  of  Samuel  Daniel  Esquire  in  Poetrie, 
London.  Printed  by  Nicholas  Okes,  for  Simon  Waterson, 
and  are  to  be  sold  at  his  shoppe  in  Paules  Churchyard,  at  the 
Signe  of  the  Crowne.  1623.  4to.  British  Museum. 
Brought  out  by  the  poet's  brother,  John  Daniel,  and  dedi- 


186  ELIZABETHAN  TRANSLATIONS 


cated  "To  the  most  high  and  most  illustrious  Prince  Charles 
His  Excellence." 

The  Complete  Works  in  Verse  and  Prose  of  Samuel  Daniel. 
Edited,  with  Memorial-Introduction  and  a  Glossarial  Index 
Embracing  Notes  and  Illustration,  A.  B.  Grosart.  1885. 
4  volumes. 

The  "  well-languaged "  Daniel  was  one  of  the  most  Italian- 
ate  of  Elizabethan  poets.  His  first  book,  The  Worthy  Tract  of 
Paulus  lovius  (1585),  is  a  translation  of  Paolo  Giovio's  Motti  e 
Desegni  d"  Arme  e  d'  Amore  communemente  chiamano  Imprese 
(1555).  With  Sonnets  to  Delia  (1592)  Daniel  published  A 
Pastor  ally  which  is  a  translation  of  Tasso's  famous  chorus  at 
the  close  of  the  first  act  of  Aminta,  0  bella  eta  delV  oro.  The 
forty-fourth  sonnet  is  headed,  "This  sonnet  was  made  at  the 
Author's  beeing  in  Italic."  The  forty-eighth  sonnet,  which 
appeared  first  in  the  third  edition  of  Delia,  in  1594,  is  marked 
"At  the  Authors  going  into  Italic."  The  time  of  the  Italian 
journey  is  unknown,  but  it  must  have  been  before  1592.  A 
prefatory  sonnet  to  Sir  Edward  Dymoke,  kinsman  to  the 
translator  of  II  Pastor  Fido,  in  1602,  tells  us  that  Daniel  and 
Sir  Edward  Dymoke  had  been  fellow  travelers  in  Italy,  and 
that  they  had  there  met  Guarini,  who  said,  — 

our  costes  were  with  no  measures  grac'd. 
Nor  barbarous  tongues  could  any  verse  bring  forth. 

Together  with  Spenser  and  Chapman,  Daniel  wrote  an  in- 
troductory sonnet,  "Of  William  Jones,  his  Nennio"  (1595), 
a  translation  of  Giovanni  Battista  Nenna's  book  II  Nennio. 
Net  quale  si  ragiona  di  nobilta  (1542).  In  1611,  Daniel  wrote 
commendatory  verses  for  John  Florio's  Queen  Anna's  New 
World  of  Words,  and,  in  1613,  for  Florio's  translation  of  The 
Essayes  on  Morall,  Politike,  and  Millitarie  Discourses  of  Lo. 
Michaell  de  Montaigne.  In  both  cases,  Florio  is  addressed  as 
"my  deare  friend  and  brother  M.  John  Florio." 

In  John  Daniel's  edition  of  his  brother's  Whole  Workes,  there 
appeared  for  the  first  time  A  Description  of  Beauty,  translated 
out  of  Marino.  [Giovanni  Battista  Marini.] 


POETRY 


187 


130 

1638.  The  Tragedie  of  Alceste  and  Eliza,  As  it  is  found 
in  Italian,  in  La  Croce  racquistata.  Collected,  and  translated 
into  English,  in  the  same  verse,  and  number.  By  Fr.  Br.  Gent. 
At  the  request  of  the  right  Vertuous  Lady,  the  Lady  Anne  Wing- 
field,  Wife  unto  that  noble  Knight,  Sir  Anthony  Wingfield  Baro- 
net, his  Majesties  High  Shirifefor  the  County  of  Suffolk. 

London.  Printed  by  Th.  Harper  for  John  Waterson,  and 
are  to  be  sold  at  his  shop  in  Pauls  Church -yard  at  the  signe  of 
the  Crown.  1638.  8vo.  39  leaves.  Bodleian.  British  Museum. 

The  Tragedie  of  Alceste  and  Eliza  is  a  tragical  history  in 
seventy  decasyllabic  stanzas.  It  is  translated  from  Books  3, 
23,  24,  and  28  of  Francesco  Bracciolini*s  La  Croce  racquistata, 
poema  eroico,  canti  15.  Parigi.  1605.  8vo.  British  Museum, 
Also,  Venetia,  1611.  4to.  British  Museum,  and  1614.  12mo. 
British  Museum;  and  Piacenza.  1613.  4to.  British  Museum. 

The  subject  of  BraccioHni's  poem  is  the  restitution  of  the 
true  cross  to  the  holy  sepulchre.  The  history  of  this  event, 
the  carrying  off  of  the  cross  by  the  Persian  King  Chosroes  II, 
in  614,  and  its  restitution,  in  629,  by  the  Emp>eror  Heraclius, 
is  very  dramatically  told  by  Gibbon,  in  The  Decline  and  Fall 
of  the  Roman  Empire,  Chapter  xlvi,  pp.  460-85. 

Many  Italian  critics  place  La  Croce  racquistata  next  to 
Tasso*s  La  Gerusalemme  Liberata,  next  but  a  long  way  after  is 
Tiraboschi's  cautious  judgment. 

131 

1644.  The  Triumphs  of  Love:  Chastitie:  Death:  Translated 
out  of  Petrarch  by  Mrs.  Anna  Hume. 

Edinburgh.  Printed  by  Evan  Tyler,  Printer  to  the  Kings 
most  Excellent  Majestic.  1644.  Small  8vo.  55  leaves.  British 
Museum.  Bodleian. 

Dedicated,  "To  the  most  excellent  Princesse  her  High- 
nesse,  the  Princesse  Elisabeth,  Eldest  daughter  to  the  King 
of  Bohemia." 


188  ELIZABETHAN  TRANSLATIONS 


A  translation  of  Petrarch's  Trionfo  d'  Amore,  Trionfo  della 
Castita,  and  Trionfo  della  Morte. 

Anna  Hume  was  the  daughter  of  David  Hume,  of  Gods- 
croft,  author  of  The  History  of  the  House  and  Race  of  Douglas 
and  Angus.  (Edinburgh.  1644.  FoHo.)  She  superintended 
the  pubUcation  of  her  father's  book,  and  was  the  friend  of 
Drummond  of  Hawthornden.  Drummond  wrote  to  her  as 
"the  learned  and  worthy  gentlewoman,  Mrs.  Anna  Hume," 
and  declared  himself  imworthy  of  "the  blazon  of  so  pregnant 
and  rare  a  wit." 

132 

1646.  Steps  to  the  Temple.  Sacred  Poemsy  With  other  De- 
lights of  the  Muses.  By  Richard  Crashaw,  sometimes  of  Pem- 
broke Hall,  and  late  Fellow  of  S.  Peters  Coll.  in  Cambridge. 
Printed  and  Published  according  to  Order. 

London.  Printed  by  T.  W.  for  Humphrey  Moseley,  and 
are  to  be  sold  at  his  shop  at  the  Princes  Armes  in  S*  Pauls 
Churchyard.  1646.  12mo.  1648.  8vo.  British  Museum.  1670. 
8vo.  British  Museum  (with  Carmen  Deo  Nostro).  1858.  12mo. 
British  Museum.  1872.  12mo.  Vol.  I.  (A.  B.  Grosart,  The 
Fuller  Worthies'  Library.) 

Among  Crashaw 's  Sacred  Poems  is  a  translation,  or  rather 
an  interpretive  expansion,  of  Marini's  Sospetto  d' Her  ode ,  the 
first  canto  of  his  Strage  degli  Innocenti,  or  *  Massacre  of  the 
Innocents'  (Venice,  1633,  4to),  while  three  love  lyrics  of 
The  Delights  of  the  Muses,  'Songs  out  of  the  Italian,*  show  how 
deeply  the  mystic  poet  of  The  Flaming  Heart  had  drunk  at 
the  fountain-head  of  Italian  inspiration. 

The  Delights  opens  with  the  celebrated  piece,  entitled  Mu- 
sick^s  Duell,  which  Crashaw  paraphrased  from  the  Latin  of 
Famiano  Strada.  The  pretty  fable  of  the  rivalry  between  the 
lutenist  and  the  nightingale,  occurs  in  Strada's  Prolusiones  et 
Paradigmata  eloquentioe,  published  at  Cologne,  in  1617,  and 
at  Oxford,  in  1631;  it  is  in  the  sixth  lecture  of  the  second 
course  on  poetic  style,  where  Strada  introduces  it  simply  as  an 


POETRY 


189 


exercise  in  imitation  of  the  style  of  the  Roman  poet  Claudian. 

Before  the  appearance  of  Crashaw's  poem,  John  Ford  made 
use  of  the  fable  in  his  tragi-comedy.  The  Lover's  Melancholy 
(1629).  In  our  own  time,  Frangois  Coppee  has  used  it  with 
charming  effect  in  his  fine  little  comedy,  Le  Luthier  de  Cre- 
mone.  Scene  7. 

See  F.  Stradae  Romani  .  .  .  Prolusiones  Academicae,  etc. 
(1631). 

133 

1647.  Poems  and  Translations,  By  Thomas  Stanley  Esquire. 

Quce  mea  culpa  tamen,  nihil  si  lusisse  vocari 
Culpa  potest:  nisi  culpa  potest  &  amasse,  vocari  ? 
Tout  vient  a  poinct  qui  peut  attendre. 

London.  Printed  by  F.  B.  for  Humphrey  Moseley.  1647. 
Svo. 

Dedicated,  to  "My  most  honoured  Aimt,  the  Lady  Dormer." 

Among  the  foreign  writers  whose  poems  are  translated  by 
Thomas  Stanley  in  this  volume  are  Guarini,  Marini,  Tasso, 
Petrarch,  and  Lope  de  Vega. 

There  followed  in  1649  another  volume  of  translations, 
entitled,  — 

Europa:  Cupid  Crucified,  [by  Ausonius] :  Venus  Vigils.  With 
Annotations.  By  Tho.  Stanley  Esq. 

London.  Printed  by  W.  W.  for  Humphrey  Moseley,  and  are 
to  be  sold  at  his  shop  at  the  signe  of  the  Princes  Armes  in  St. 
Pauls-Church-yard.  1649.  Svo.  32  leaves. 

At  the  same  date  there  appeared,  in  a  third  volume,  two 
translations  in  prose  interspersed  with  verse,  — 

Aurora  Ismenia  and  the  Prince:  By  Don  Juan  Perez  de  Mont- 
alvan.  Oronta  the  Cyprian  Virgin:  By  Sign'-  Girolamo  Preti, 

Tout  vient  a  poinct  qui  peut  attendre. 

Translated  hy  Thomas  Stanley  Esq. 
Second  Edition,  with  additions. 

London.  Printed  by  W.  Wilson  for  Humphrey  Moseley  at 


190  ELIZABETHAN  TRANSLATIONS 


the  Sign  of  the  Princes  Armes  in  St.  Pauls  Church-yard.  1650. 
8vo. 

In  the  following  year,  1651,  Stanley  reissued,  in  a  fourth 
volume,  all  his  previously  published  verse,  and  added  his 
classical  rendering  of  Anacreon's  odes  with  some  other  transla- 
tions. This  book  he  divided  into  five  parts,  each  introduced  by 
a  new  title-page.  The  first  title  is,  — 

Poems y  by  Thomas  Stanley,  esq.,  printed  in  the  year  1651, 

This  is  a  reprint  of  the  volume  of  1647. 

The  second  title-page  reads,  — 

Anacreon:  Bion:  Moschus:  Kisses  by  Johannes  Secundus: 
Cupid  Crucified  by  Ausonius:  Venus'  Vigil  Incerto  Authore. 
The  third  title-page  introduces  — 
Excitations. 

This  part  is  an  appendix  containing  notes  on  the  preceding 
translations,  which  Stanley  says  "were  never  further  intended 
but  as  private  exercises  of  the  languages  from  which  they  are 
deduced." 

The  fourth  title-page  runs,  — 

Silvia^s  Park,  by  Theophil:  Acanthus  Complaint,  by  Tristran: 
Oronta,  by  Preti:  Echo,  by  Marino:  Lovers  Embassy,  by  Boscan: 
The  Solitude,  by  Gongora. 

The  fifth  and  last  title-page  is,  — 

A  Platonic  Discourse  on  Love  written  in  Italian  by  John  Picus 
Mirandola  in  Explanation  of  a  Sonnet  by  Hieronymo  Benivieni. 

Girolamo  Benivieni  wrote,  II  Commento  di  leronimo  Bene- 
vieni,  cittadino  Fiorentino,  sopra  a  piii  sue  canzone  e  sonetti  del 
Amore  e  delta  bellezza  divina.  Florence.  1500. 

Pico  delta  Mirandola:  A  Platonick  Discourse  upon  Love. 
Edited  by  Edmund  G.  Gardner.  D.  B.  Updike.  Boston.  1914. 
8vo. 

To  some  copies  there  is  appended  a  sixth  title-page  intro- 
ducing the  prose  novel  of  Montalban  which  had  been  pub- 
lished with  Preti's  Oronta  in  1649  and  1650. 

1814,  8vo,  and  1815,  8vo,  both  edited  by  Sir  Egerton 
Brydges. 


POETRY 


191 


Thomas  Stanley:  His  Original  Lyrics,  Complete^  in  their  Col- 
lated Readings  of  1647,  1651,  1657.  With  an  Introduction, 
Textual  Notes,  A  List  of  Additions,  An  Appendix  of  Transla- 
tions, and  a  Portrait.  [Edited  by  L.  I.  Guiney.]  Hull.  1907. 

Among  the  Italians  in  Miss  Guiney's  Appendix  of  Transla- 
tions are  Tasso,  Guarini,  Giovanni  Battista  Marini,  and  Guide 
Casoni.  Thomas  Stanley's  tutor  was  William  Fairfax,  son  of 
Edward  Fairfax,  translator  of  Tasso's  La  Gerusalemme  Libe- 
rata,  in  1600. 

134 

1652.  Catch  that  catch  can,  or  a  choice  Collection  of  catches, 
rounds  and  canons,  for  three  or  four  voices,  collected  and  published 
by  John  Hilton,  Batchelor  in  Music. 

London.  Printed  for  John  Benson,  and  John  Playford,  and 
are  to  be  sold  in  St.  Dunstan's  Churchyard,  and  in  the  Inner 
Temple,  near  the  Church  door,  1652.  Also,  1658. 

"In  this  collection,  according  to  all  accounts,  first  appeared 
the  well  known  canon,  Non  nobis,  Domine,  in  the  fourth  and 
eighth  below.  ...  It  is  also  worthy  of  notice,  that  Hilton  thus 
concludes  his  dedication  addressed  to  Mr.  R.  Coleman:  *So 
being  enriched  by  your  courteous  patronizing  of  these,  you  and 
I  will  sing  Non  nobis,  Domine.'  Here  follows  a  canon  in  the 
fourth  and  eighth  above,  which,  with  regard  to  intervals,  is  the 
counterpart  of  the  other,  but  in  moto  contrario,  and  in  a  differ- 
ent key.  From  the  way  in  which  it  is  introduced  I  think  it 
probable  that  Hilton  was  its  composer."  (Oliphant,  La  Musa 
Madrigalesca,  p.  297.) 

English  historians  are  unanimous  in  attributing  Non  nobis, 
Domine  to  William  Byrd,  although  it  is  not  found  in  any  known 
work  of  his.  The  theme  is  a  common  one.  Historically,  Pales- 
trina  first  uses  its  opening  strain  in  his  exquisite  madrigal,  one 
of  the  loveliest  madrigals  that  ever  was  written. 

When  flowery  meadows  deck  the  year. 
Thomas  Morley  {A  Plaine  and  Easie  Introduction  to  Prac- 


im  ELIZABETHAN  TRANSLATIONS 


ticall  Musicke,  1597)  introduces  the  first  six  bars  of  it  as  a 
canto  fermo  whereon  to  maintain  a  fugue.  It  occurs  in  later 
music  in  Bach,  Allahreve  per  organo  pleno  in  D;  in  Handel, 
Hallelujah  Chorus,  *I  will  sing  unto  the  Lord,'  (from  Israel); 
and  in  Mendelssohn,  in  the  opening  notes  of  the  last  chorus  in 
his  oratorio,  St.  Paul,  *Not  only  unto  Him,* 
See  Musica  Transalpina  (1588). 

135 

1658.  A  Prospective  of  the  Naval  Triumph  of  the  Venetians 
over  the  Turk.  To  Signor  Pietro  Liberi,  That  Renowned  and 
famous  Painter,  [By  Thomas  Higgons.] 

London.  Printed  for  Henry  Herringman,  etc.  1658.  8vo. 
British  Museum  (2  copies). 

Dedicated  to  Henry  [Mordaunt],  Earl  of  Peterborough. 
This  work,  which  is  in  verse,  is  translated  from  Giovanni 
Francesco  Busenello's,  -— 

Prospettivo  del  navale  trionfo  riportato  dalla  Republica  Sere- 
niss^'^  contra  il  Turco,  etc. 

Venetia.  1656.  4to.  British  Museum, 

Edmund  Waller,  in  a  commendatory  poem,  addressed  to 
Mrs.  Higgons,  compliments  the  translator  on  the  quality  of  his 
verse.  *  Signor  Pietro  Liberi'  is  the  Venetian  painter,  Pietro 
Liberi  (Libertino),  1605  (?)-1687. 

136 

1661.  A  Survey  of  the  World:  in  Ten  Boohs. 

Oxford.  Printed  by  Will.  Hall,  for  the  Authour,  anno  1661. 
Small  8vo.  British  Museum. 

The  'Authour'  was  Barten  Holy  day.  Archdeacon  of  Oxford. 
His  book  is  a  paraphrase,  in  verse,  of  Fazio  [Bonifazio]  degli 
Uberti's  Dittamondo,  Vicentia.  (1474.  Folio.  6  Books.) 
Uberti,  who  died  in  1367,  intended  to  describe  in  his  Dittamondo, 
or  *Song  of  the  World,'  all  the  known  world  of  his  time;  he 
described  Italy,  Greece,  and  Asia  only;  of  France  and  England 
he  had  quaint  notions.  Barten  Holyday  paraphrases  the  six 


POETRY 


193 


Italian  books  in  ten  English  books,  each  containing  one  hundred 
couplets. 

Dante  Gabriel  Rossetti,  in  Dante  and  his  Circle,  translated, 
from  Book  iv  of  the  Dittamondoy  Chapter  23,  "Of  England,  and 
of  its  Marvels,"  and  Chapter  25,  "Of  the  Dukes  of  Normandy, 
and  thence  of  the  Kings  of  England,  from  William  the  First  to 
Edward  the  Third/* 


ni 


Ill 


PLAYS 
137 

1572.  Supposes:  A  Comedie  vyritten  in  the  Italian  tongue 
by  Ariosto,  Englished  by  George  Gascoygne  of  Grayes  Inne 
Esquire^  and  their  presented.  1566. 

London,  for  Richarde  Smith,  n.  d.  [1572].  4to.  British 
Museum.  Also  [1575].  4to.  British  Museum.  1587.  4to. 
British  Museum. 

Supposes  was  first  printed  in  Gascoigne's  A  Hundreth  sun- 
drie  Flowresy  1572.  It  is  a  translation  of  Ariosto's  Gli  Suppositi 
(1519),  and  is  of  great  historic  interest  as  the  earliest  extant 
comedy  in  English  prose.  Shakspere  borrowed  from  it  the 
intrigue  of  Lucentio,  and  the  quaint  name,  Petruchio,  for  The 
Taming  of  the  Shrew.  It  also  gave  to  dramatic  literature  the 
ridiculous  name  and  character  of  Doctor  Dodypoll. 

A  play  called  The  Wisdom  of  Doctor  Dodypoll,  probably  by 
George  Peele,  was  published  in  1600,  as  acted  by  the  children 
of  Paul's. 

138 

1572.  Jocasta.  A  Tragedie  written  in  Greeke  by  Euripides, 
translated  and  digested  into  Acte,  by  George  Gascoygne  and 
Francis  Kinwelmershe  of  Grayes  Inne,  and  there  by  them  pre- 
sented, 1566. 

London,  for  Richarde  Smithe,  n.  d.  [1572].  4to.  Black 
letter.  British  Museum.  Also  [1575].  4to.  Black  letter. 
British  Museum,  and  1587.  4to.  Black  letter.  British  Museum. 
1868-70.  4to.  2  vols.  Ed.  W.  Carew  Hazlitt.  The  Roxburghe 
Club. 

Like  the  Supposes,  Jocasta  was  acted  in  Gray's  Inn,  proba- 


198  ELIZABETHAN  TRANSLATIONS 


bly  at  Christmas,  1566,  and  was  first  published  in  Gascoigne's 
A  hundreth  Sundrie  Flowres  (1572).  It  is  a  translation  of  Lodo- 
vico  Dolce's  tragedy,  Giocasta  (1549),  Gascoigne  translat- 
ing Acts  II,  III,  and  v,  and  Kinwelmarsh  Acts  i  and  iv.  The 
Epilogue,  in  quatrains,  was  written  by  a  third  student  of 
Gray's  Inn,  Christopher,  afterwards,  Sir  Christopher,  Yelver- 
ton.  Some  parts  of  the  choral  odes  are  original,  and  the 
tragedy  is  noteworthy  as  the  second  English  play  written  in 
blank  verse. 

Jocasta  was  long  supposed  to  be  a  translation  of  the  Phce- 
nissoB  of  Euripides,  although  Warton  pointed  out  that  it  was 
"by  no  means  a  just  or  exact  translation,"  but  rather  "partly  a 
paraphrase,  and  partly  an  abridgement,  of  the  Greek  tragedy." 
It  is  now  known  that  so  far  from  translating  from  Euripides 
was  Gascoigne,  that  he  found  his  original  in  Dolce's  Giocasta, 
which  is  an  Italian  version  of  Seneca's  imitation  of  the  Phoe- 
nissce. 

Both  Professor  Mahaffy  and  Mr.  Symonds  {Shakespeare's 
Predecessors,  Chap,  vi,  pp.  221-22)  call  attention  to  the  close- 
ness of  the  English  play  to  its  Italian  original. 

Professor  Mahaffy  says,  —  "  It  professes  to  be  an  independ- 
ent translation  of  Euripides,  but  I  was  surprised  to  find  it  really 
to  be  a  literal  translation  of  Dolce's  Italian  version,  without 
any  trace  of  an  appeal  to  the  original.  Thus  the  iraLSayeoyof; 
is  called  the  Bailo,  a  regular  Venetian  title. 

"Its  chief  literary  interest  lies  in  the  loose  paraphrase  of 
Eteocles'  speech  (where  he  asserts  that  he  means  to  hold  the 
tyranny  in  spite  of  all  opposition),  which  appears  to  have 
suggested  directly  to  Shakspere  the  speech  of  Hotspur  in  the 
first  part  of  Heniy  IV,  i,  3.  So  far  as  I  know,  this  is  the  only 
direct  contact  with,  or  rather  direct  obligation  to,  the  Greek 
tragedy  in  Shakspere."  (Rev.  J.  P.  Mahaffy,  A  History  of 
Greek  Classical  Literature.  Vol.  i,  pp.  365-66.) 

If  there  is  here  a  touch  between  the  Greek  and  EngHsh 
dramas,  it  is  interesting  to  note  it,  and  I  give  the  supposed 
suggestion  on  his  way,  — 


PLAYS 


199 


aaTpwv  av  eXOoLfi  alOepo^  tt/jo?  az/roXa? 
Kol  77}?  evepde,  Sumro?  cl)v  hpaaai  raSe, 
rrfv  Oetav  fie^yiaTrjv  war  e'^etv  Tvpavviha. 

Euripides,  Phoenissce,  503-506. 

Dal  parer  di  costui  lungo  cammino, 
Madre  (per  dir  il  vero),  e  il  mio  lontano. 
Ne'  vi  voglio  occultar  che,  s'  io  potessi 
Su  nel  Cielo  regnar,  e  giu  in  InfernOy 
Non  me  spaventeria  fatica,  o  qffanOf 
Per  titrovar  at  mio  desio  la  strada 
Di  gire  in  questo,  o  di  salir  in  quello: 

Lodovico  Dolce,  Giocasta,  11,  1. 

To  say  the  truth  (mother)  this  mind  of  mine 

Doth  fleet  full  farre  from  that  farfetch  of  his, 

Ne  will  I  longer  cover  my  conceit: 

If  I  could  rule  or  reign  in  heaven  above. 

And  eke  commaund  in  depth  of  darksome  hell. 

No  toile  ne  trauell  should  my  spirit  abashe 

To  take  the  way  unto  my  restlesse  will. 

Gascoigne,  Jocastay  11,  1. 

By  heaven,  methinks  it  were  an  easy  leap 

To  pluck  bright  Honor  from  the  pale-faced  moon. 

Or  dive  into  the  bottom  of  the  deep, 

Where  fathom-line  could  never  touch  the  ground, 

And  pluck  up  drowned  Honor  by  the  locks; 

So  he  that  doth  redeem  her  hence  might  wear 

Without  corrival  all  her  dignities. 

Shakspere,  /  Henry  IV y  11,  3. 

It  will  be  seen  that  Gascoigne  is  much  nearer  to  Dolce  than 
to  Euripides,  and  that  it  is  a  far  cry  from  Gascoigne  to  Shak- 
spere. 

139 

1578.  The  Right  Excellent  And  Famous  Historye  Of  Pro- 
mos and  Cassandra:  Diuided  into  Commical  Discourses.  In 
the  Fyrste  Parte  is  showne.  The  unsufferable  Abuse  of  a  lewde 
Magistrate.  The  vertuous  Behauiours  of  a  chaste  Ladye.  The 


^00  ELIZABETHAN  TRANSLATIONS 


uncontrowled  Leaudenes  of  a  fauoured  Curtisan:  And  the  unde- 
served Estimation  of  a  pernicious  Parasyte.  In  the  Second  Parte 
is  discoursed,  The  perfect  Magnanimitye  of  a  noble  Kinge,  In 
checking  Vice  and  fauouringe  Vertue.  Wherein  is  showne.  The 
Ruyne  and  Ouerthrowe  of  dishonest  Practices:  with  the  Ad- 
uauncement  of  upright  Dealing.  The  Worke  of  George  Whet- 
stones Gent,  Formce  nulla  fides. 

[Colophon.]  Imprinted  at  London  by  Richarde  Jhones, 
and  are  to  be  solde  ouer  agaynst  Saint  Sepulchres  Church 
without  Newgate.  August  20,  1578.  4to.  Black  letter. 
Bodleian.  British  Museum.  Capell  Collection.  Reprinted  in 
Six  Old  Plays  (1779);  in  Shakespeare's  Library.  J.  P.  Collier 
[1843]  and  W.  C.  Hazlitt  (1875) ;  also,  with  some  omissions,  in 
the  appendix  to  Measure  for  Measure.  CasselFs  National 
Library,  No.  205.  1891. 

Dedicated  to  his  "worshipful  friend  and  kinsman,  WiUiam 
Fleetwoode,  Esq.  Recorder  of  London." 

Each  part  is  a  play  in  five  acts,  in  rhymed  verse,  with  songs 
interspersed.  The  dedication  to  the  author's  kinsman,  William 
Fleetwood,  Recorder  of  London,  contains  some  interesting 
comment  on  the  contemporary  drama  of  Europe.  Italian, 
French,  and  Spanish  plays  are  too  lascivious;  the  German  too 
holy  and  pulpiteering.  The  English  dramatist  is  censured  for 
basing  his  plots  on  "impossibilities."  "In  three  hours  he  runs 
round  the  world,  marries,  gets  children,  makes  children  men, 
men  to  conquer  kingdoms,  murder  monsters,  and  bringeth  gods 
from  heaven  and  fetcheth  devils  from  hell."  Whetstone  also 
complains  of  their  using  "one  order  of  speech  for  all  persons:  a 
gross  indecorum." 

Promos  and  Cassandra  is  heavy  and  imdramatic,  and  was 
never  acted. 

Shakspere's  Measure  for  Measure  is  founded  on  this  play 
whose  plot  comes  from  Giraldi  Cintio,  Gli  Ecatommitiy  Deca  viii, 
Novella  5.  The  same  story  is  also  told  by  Whetstone,  in  prose, 
in  his  Heptameron  of  Civill  Discourses  (1582),  where  it  is  entitled 
The  Rare  Historic  of  Promos  and  Cassandra. 

Giraldi  dramatized  his  own  novella  in  the  tragedy,  Epitia, 


PLAYS 


201 


140 

12  Novemhris  [1584],  Receaued  of  him  for  printinge  of  a 
booke  entitled  jidele  andfortuna.  The  deceiptes  in  hue  Discoursed 
in  a  Commedia  of  ij  Italyan  gent  and  translated  into  Englishe. 

Title-page  not  extant,  but  in  Register  B  it  is  licensed  to 
Thomas  Hackett.  Arher's  Transcript,  ii,  437, 

In  the  original  (owned,  1909,  by  the  Duke  of  Devonshire) 
there  is  a  cutting  from  a  sale  catalogue,  which  describes  the 
book,  as 

"  The  pleasaunt  and  fine  conceited  Comoedie  of  two  Italian 
Gentlemen,  with  the  merie  devices  of  Captaine  Crackstone,  in 
black  letter,  unique,  from  Mr.  Inglis's  collection,  imperfect, 
green  morocco." 

Fidele  and  Fortunio  The  Two  Italian  Gentlemen.  Edited  by- 
Percy  Simpson  for  the  Malone  Society.  1909.  [Note  by  W.  W. 
Greg,  on  reverse  of  title-page  is  dated,  "Mar.  1910."]  Re- 
printed, by  Fritz  Flugge,  in  Archivfur  das  Studium  der  Neueren 
Sprachen  und  Literaturen,  Band  cxxiii,  pp.  48-80.  1909. 

Dedicated  to  John  Heardson,  Esq.,  by  A.  M.  (Anthony 
Munday.) 

Fidele  and  Fortunio  was  adapted  from  Luigi  Pasqualigo's 
comedy  II  Fedele  (Venice,  1579),  which  was  also  translated 
into  Latin  by  Abraham  Fraunce. 

The  play  is  written  in  rhyme,  and  is  interesting  as  an  early 
type  of  a  musical  comedy.  It  contains  but  two  songs,  but  at 
the  end  of  the  first  act,  "the  Consorte  of  Musique  soundeth 
a  pleasant  Galliard,"  at  the  end  of  the  second,  "the  Consorte 
soundeth  again,"  at  the  end  of  the  third,  "sounds  a  sollemne 
dump, "and after  the  fourth, "  soundeth  a  pleasant  Allemaigne." 

Victoria  setteth  open  the  Casement  of  her  windowe  and 
with  her  Lute  in  her  hand  playeth,  and  singeth  this  dittie. 

If  looue  be  like  the  flower  that  in  the  night, 
When  darknes  drownes  the  glory  of  the  Skyes: 

Smelles  sweet,  and  glitters  in  the  gazers  sight. 
But  when  the  gladsom  Sun  beginnes  to  rise. 


202  ELIZABETHAN  TRANSLATIONS 


And  he  that  viewes  it,  would  the  same  imbrace: 
It  withereth,  and  looseth  all  his  grace. 

Why  do  I  looue  and  like  the  cursed  Tree, 

Whose  buddes  appeer,  but  fruite  will  not  be  seen: 
Why  doo  I  languish  for  the  flower  I  see? 

Whose  root  is  rot,  when  all  the  leaues  be  green. 
In  such  a  case  it  is  a  point  of  skill; 
To  foUowe  chaunce,  and  looue  against  my  will. 

I,  2. 

Fedele  sings,  of  Victoria,  — 

I  serve  a  Mistres  whiter  than  the  snowe, 
Straighter  then  Cedar,  brighter  then  the  Glasse. 
Finer  in  trip  and  swifter  then  the  Roe, 
More  pleasant  then  the  Feeld  of  flowring  Grasse. 
More  gladsome  to  my  withering  Joyes  that  fade: 
Then  Winters  Sun,  or  Sommers  cooling  shade. 

Sweeter  then  swelling  grape  of  ripest  wine. 
Softer  then  feathers  of  the  fairest  Swan: 
Smoother  then  Jet,  more  stately  then  the  Pine, 
Fresher  then  Poplar,  smaller  than  my  span. 
Clearer  then  Beauties  fiery  pointed  beam: 
Or  Isie  cruste  of  Christalles  frozen  stream. 

Yet  is  she  curster  then  the  Beare  by  kinde. 
And  harder  harted  then  the  aged  Oke: 
More  glib  then  Oyle,  more  fickle  then  the  winde, 
Stiffer  then  Steele,  no  sooner  bent  but  broke. 
Loe  thus  my  service  is  a  lasting  sore: 
Yet  will  I  serve  although  I  dye  therfore. 

1,2. 

This  song  was  reprinted  in  England's  Helicon,  1600,  entitled, 
Montana  the  Shepherd  his  love  to  Aminta,  and  signed,  "Shep. 
Tony." 

See  Victoria.  1906. 


141 

[1589?]  A  certayne  Tragedie  wrytten  fyrst  in  Italian  by 
F.  N.  B.y  entituled,  Freewyl,  and  translated  into  English  by 
H[enry]  CheeJce. 


PLAYS 


203 


London,  by  John  Tysdale,  n.  d.  [1589?].  4to.  Black  letter. 
211  pages,  besides  dedication,  prefatory  epistle  to  the  reader, 
and  *  faults.* 

Entered  on  the  Stationers^  Register  A,  May  11,  1561. 
In  five  acts  and  in  prose. 

Dedicated  to  Lady  Cheynie,  or  Cheyney,  of  Toddington, 
Bedfordshire.  Cheke  says  in  his  Dedication,  "wherein  is  set 
foorth  in  manner  of  a  Tragedie  the  deuylishe  deuise  of  the 
Popishe  religion  whiche  pretendeth  holynesse  onely  for  gayne." 

Henry  Cheke  was  the  eldest  son  of  Sir  John  Cheke,  tutor  to 
Edward  VI. 

The  original  is  an  Italian  morality  play  entitled  Tragedia  di 
F.  A^.[egri]  5.[assanese]  intitolata.  Libera  Arbitrio.  1546.  4to. 
The  morality,  like  the  translation,  is  in  five  acts  and  in  prose. 
It  is  in  the  Library  of  Cambridge  University,  together  with  a 
Latin  version  by  John  Crispin,  Liberum  Arbitrium;  tragoedia, 
.  .  .  Nunc  primum  ab  ipso  authore  Latine  scripta  et  edita, 
Apud  Crispinum:  [Geneva.]  1559.  8vo.  British  Museum. 

Fleay  {Chronicle  of  the  English  Drama,  Vol.  ii,  p.  366, 
under  Translators,)  gives, 

"Bristowe,  Francis,  King  Freevnll,  T.  1635.  MS.  From 
the  French,  Roy  Franc  Arbitre,  T.  1558;  translated  from  the 
Italian.'* 

The  French  original  of  this  translation  is  Tragedie  du  Roy 
Franc-arbitre,  nouvellement  traduite  d^Italien  [of  F.  Negri  de 
Bassano]  en  Frangois.  Chez  Jean  Crespin.  [Geneva.]  1558. 
8vo.  British  Museum. 

Jean  Crespin,  a  French  Protestant  who  died  at  Geneva  in 
1572,  was  an  author  and  printer  of  the  type  of  the  celebrated 
Estienne  family. 

The  interlocutors  of  the  morality  are  seventeen  in  number, 
among  them  the  Apostles  Peter  and  Paul,  and  the  archangel 
Raphael,  but  the  piece  is  in  no  sense  dramatic. 

Freewyl  is  the  son  of  Reason  and  Will,  and  prince  of  the 
province  of  Humane  operations.  The  schoolmen  take  him 
to  Rome  to  live,  where  the  Pope  makes  him  a  Christian,  a 


204  ELIZABETHAN  TRANSLATIONS 


papist,  and  a  most  puissant  king;  in  spite  of  this,  however, 
the  *  humane  operations'  consist  in  proving  the  Pope  to  be  the 
true  antichrist.  (British  Bibliographer,  Vol.  i,  p.  362.)  In 
May,  1550,  Thomas  Hoby  settled  himself  in  Rome  to  study, 
and  during  that  year  translated  The  Tragedie  of  Free  Will, 
which  he  afterwards  dedicated  to  the  Marquis  of  Northampton. 

A  Booke  of  the  Trauaile  and  lief  of  me  Thomas  Hoby,  with 
diverse  things  woorthe  the  notinge.  MS.  British  Museum, 

142 

1602.  II  Pastor  Fido;  or  the  Faithfull  Shepheard,  translated 
out  of  Italian  into  English.  [By  — —  Dymoke.] 

London.  Printed  for  Simon  Waterson.  1602.  4to.  British 
Museum.  Also,  1633.  12mo.  British  Museum. 

Prefixed  to  the  quarto  edition  are  verses  by  Samuel  Daniel 
to  Sir  Edward  Dymoke,  who  is  called  kinsman  of  the  trans- 
lator. The  duodecimo  edition  is  dedicated  to  Charles  Dymoke, 
Esq.,  son  of  the  translator.  The  translation,  "in  spite  of 
Daniel's  commendatory  sonnet,  is  a  very  bad  one."  Dyce, 
Introduction  to  Fletcher's  The  Faithful  Shepherdess. 

II  Pastor  Fido,  by  Giovanni  Battista  Guarini,  was  first 
published  in  1590,  although  written  some  years  earlier.  The 
edition  of  1602  was  the  twentieth,  so  popular  was  this  pas- 
toral. Nor  did  the  popularity  of  II  Pastor  Fido  cease  with 
the  author's  lifetime.  On  the  contrary,  the  influence  of  the 
drama,  its  sentiment  and  its  sensuousness,  made  itself  felt  in 
the  art  and  manners  of  Europe  for  nearly  two  centuries,  down 
to  the  new  order  of  the  French  Revolution.  The  explanation 
of  this  enduring  quality  is  found  in  the  two  most  striking 
characteristics  of  the  pastoral.  In  the  first  place,  II  Pastor 
Fido  is  not  a  pastoral  at  all,  in  the  sense  that  Tasso's  Aminta 
is;  there  is  little  or  no  real  rusticity  in  it.  Rather  it  is  a  reflec- 
tion of  contemporary  life  and  feeling,  II  Pastor  Fido  is  Italy 
at  the  close  of  the  Renaissance.  And  it  was  written,  in  the 
full  maturity  of  his  powers,  by  a  poet  who  was  at  once  a 
man  of  the  world,  like  Boccaccio,  and  a  scholarly  recluse,  like 


PLAYS 


205 


Petrarch.  Guarini's  thought  is  never  profound,  but  it  is  always 
wise  with  experience,  and  it  is  expressed  in  language  that  is 
almost  perfect,  so  contained  and  yet  so  brilliant,  so  popular 
and  yet  so  classical.  It  is  the  juste  milieu  of  style. 

I  find  five  plays  that  hark  back  to  II  Pastor  Fido  (Venice, 
1590,  4to;  and  Ferrara,  1590,  12mo.),  — 

1.  The  Faithful  Shepherdess,  a  pastoral  tragi-comedy,  by 
John  Fletcher,  was  acted  about  1608;  printed,  in  quarto, 
no  date,  1629, 1634, 1656, 1665.  Done  into  Latin  verse  by 
Sir  Richard  Fanshawe,  as  La  Fida  Pastor  a,  1658. 

2.  II  Pastor  FidOy  or  The  Faithful  Sheapheard,  1630.  J. 
Sidnam.  British  Museum  MS.  Addit.  29493. 

3.  The  Pastor  Fido.  The  Faithfull  Shepheard.  A  Pastorall. 
1647.  4to.  Second  English  translation,  by  Sir  Richard 
Fanshawe. 

4.  Pastor  Fidus,  a  Latin  drama,  of  unknown  author  and 
date,  was  acted  at  King's  College,  Cambridge.  MS.  in 
the  Library  of  the  University  of  Cambridge.  F.  E. 
Schelling,  Elizabethan  Drama,  p.  596,  dates  this  play, 
*1606.' 

5.  The  Queen* s  Arcadia,  a  pastoral  tragi-comedy,  by  Samuel 
Daniel.  1606.  4to.  1611.  12mo.  1623.  4to. 

Presented  to  Queen  Anne  and  her  Ladies,  at  Christ 
Church  College,  Oxford,  August,  1605. 

Daniel  was  a  *  commoner*  of  Magdalen  Hall,  Oxford, 
from  1579  to  1582  or  1583.  The  Queen's  Arcadia  is  adapted 
from  //  Pastor  Fido.  See  II  Pastor  Fido,  1591, 1602, 1647- 
48,  and  1658. 

143 

1610.  Honours  Academic.  Or  the  Famous  Pastorall,  of  the 
faire  Shepheardesse,  Julietta  [by  Olenix  du  Mont  Sacre,  i.e. 
Nicolas  de  Montreux].  A  worke  admirable,  and  rare.  Sen- 
tentious and  grave:  and  no  lesse  profitable,  then  pleasant  to 
peruse.  Wherein  are  many  notable  Discourses,  as  well  Philoso- 
phicall,  as  Diuine:  Most  part  of  the  Seven  Liberal  Sciences, 


206  ELIZABETHAN  TRANSLATIONS 


being  comprehended  therein:  with  diuers  Comically  and  Tragi- 
call  HistorieSy  in  Prose  and  VersCy  of  all  sorts.  Done  into 
English  by  i?.[obert]  r.[ofte]  Gentleman. 

Imprinted  at  London  by  Thomas  Creede.  1610. 

[Colophon.]  London.  Printed  by  Thomas  Creede,  dwelling 
in  the  old  Change,  neere  old  Fishstreete,  at  the  signe  of  the 
Eagle  and  Childe.  1610.  Folio.  123  leaves.  British  Museum 
(3  copies). 

Dedicated  to  Lady  Anne  Herne,  wife  of  Sir  Edward  Herne, 
K.B. 

Rev.  A.  B.  Grosart,  in  his  edition  of  Robert  Tofte's  Alba, 
Occasional  Issues  (Vol.  xi),  says,  "Before  examining  Laura 
and  Albay  it  may  not  be  deemed  superfluous  briefly  to  notice 
these  other  books,  Orlando  InamoratOy  Of  Marriage  and  Wiv- 
ingy  Ariostos  SatyreSy  and  Honours  Academie,  all  of  which  are 
substantially  *  translations'  from  Italian." 

The  immediate  source  of  Honours  Academie  is  Nicolas  de 
Montreux'  Les  Bergeries  de  Juliette  (1592).  A.  H.  Bullen  prints 
a  lyric  from  it  in  his  Poems,  Chiefly  Lyrical,  from  Romances 
and  Prose-Tracts  of  the  Elizabethan  Age  (1890).  It  is  entitled, 
Defiance  to  Love,  and  runs  on  the  refrain,  — 

Love,  fare  thee  well,  live  will  I  now 
Quiet  amongst  the  greenwood  bough. 

144 

1615.  Albumazar:  a  Comedy  presented  before  the  Kings  Ma- 
jestic at  Cambridge  the  ninth  of  March  161  Ji.  by  the  Gentlemen  of 
Trinitie  Colledge.  [By  Thomas  Tomkis,  or  Tomkys.] 

London.  Printed  by  Nicholas  Okes  for  Walter  Burre.  1615. 
4to.  1634.  4to.  1668.  4to,  with  Prologue  by  Dryden.  R. 
Dodsley.  A  Select  Collection  of  Old  English  Plays.  Ed.  W.  C. 
Hazlitt,  XI,  292-421.  1874-76. 

Albumazar  was  acted  at  Lincoln's  Inn  Field's  Theatre, 
2  February,  1668,  with  Dry  den's  Prologue.  James  Ralph 
based  his  The  Astrologer,  1744,  on  it,  which  was  acted  at  the 
Drury  Lane  Theatre  for  a  single  night  in  that  year.  Garrick 


PLAYS 


207 


revived  Tomkis's  comedy  at  Drury  Lane,  3  October,  1747, 
where  it  ran  five  nights,  and  again,  13  March,  1748.  Dryden's 
Prologue  was  spoken  by  Garrick,  and  MackHn  and  Mrs. 
Woffington  were  in  the  cast.  Later,  Garrick  altered  Albumazar 
and  produced  his  version  (which  was  published)  at  Drury  Lane, 
19  October,  1773.  Albumazar  is  a  satire  on  astrologers,  and 
was  imitated  from  Giovanni  Battista  della  Porta's  VAstrologo 
(Venice,  1606);  Ward  says  {A  History  of  English  Dramatic 
Literature,  iii,  180)  it  is  "so  close  an  imitation,  even  in  its  most 
amusing  scene,  iii,  7,  that  it  cannot  be  said  to  possess  any 
claim  to  originaUty." 

145 

1628.  r[orquato]  Tasso's  Aminta.  Englisht.  To  this  is 
added  Ariadne's  Complaint  in  imitation  of  Anguillara  [Gio- 
vanni Andrea  dell'  Anguillara];  written  by  the  Translater  of 
Tasso's  Aminta. 

Meglio  e  il  poco  terrene  hen  coltuiare,  che  molto  lasciar  per 
mat  gouerno  miseramente  imboschire.  Sannaz**. 

London.  Printed  by  Aug:  Mathewes  for  William  Lee, 
and  are  to  bee  sold  at  the  Signe  of  the  Turkes  Head  in  Fleet- 
street.  1628.  4to.  47  leaves.  British  Museum  (2  copies). 

Tasso's  Aminta  was  acted  at  Ferrara,  in  1573;  it  appeared 
first  from  the  Aldine  Press  (Venice.  1581.  Sm.  8vo).  This  is 
the  second  English  translation  of  Aminta.  Halliwell,  possibly 
upon  the  authority  of  the  British  Museum  Catalogue,  conjec- 
tures the  translator  to  be  *  John  Reynolds,'  but  there  is  entered 
in  Register  D,  to  William  Lee,  November  7,  1627,  **A  booke 
called  'Torquato  Tassos  Aminta  Englished*  by  Henry  Rey- 
noldes." 

Henry  Reynolds  has  a  song  in  each  of  the  three  parts  of 
Henry  Lawes's  Ayres  and  Dialogues  for  One,  Two,  and  Three 
Voyces  (1653,  1655,  1658.  Folio).  Drayton  also  addressed 
his  epistle.  Of  Poets  and  Poesie,  1627,  "To  my  dearly  loved 
Friend,  Henry  Reynolds,  Esq." 

There  is  a  song  by  H.  Reynolds,  in  Beloe's  Anecdotes  of 


208  ELIZABETHAN  TRANSLATIONS 


Literature  and  Scarce  Boohs  (Vol.  vi),  under  the  caption  Poeti- 
cal Extracts  from  Various  Uncommon  Books, 

Love  above  Beauty 
I 

Lovely  Chloris,  though  thine  eyes 
Far  outshine  the  jewelled  skies, 
That  grace  which  all  admire  in  thee, 
No  nor  the  beauties  of  thy  brest. 
Which  far  outblaze  the  rest. 

Might  ere  compared  be 

To  my  fidelitie. 

II 

Those  alluring  smiles  that  place 
Eternal  April  on  thy  face. 
Such  as  no  sun  did  ever  see. 
No  nor  the  treasures  of  thy  brest, 
Which  far  outblaze  the  rest. 

Might  ere  compared  be 

To  my  fidelitie. 

See  Poems:  Amorous^  Funerall,  Divine^  Pastorall,  by  William 
Drummond  (1616),  and  The  Whole  Workes  of  Samuel  Daniel, 
(1623). 

146 

1630.  Ignoramus.  Comedia.  [By  George  Ruggle.] 

Londini,  typis  T.  H.  for  John  Spencer.  1630.  12mo;  also, 
1630,  second  edition,  revised,  1638,  1659,  1668,  1707,  1731. 
8vo;  Dublin,  1736.  8vo. 

Ignoramus,  a  Comedy,  as  it  was  acted  with  extraordinary 
applause  before  the  Majesty  of  King  James,  by  R.  C.  [Robert 
Codrington.]  1662.  4to.  First  English  translation. 

Ignoramus,  comoedia,  scriptore  Georgio  Ruggle,  A.M.  AuIcb 
Clarensis,  apud  Cantabrigienses,  olim  socio;  nunc  denuo  in  lucem 
edita  cum  notis  historicis  et  criticis:  quibus  insuper  prcBponitur 
vita  auctoris,  et  subjicitur  glossarium  vocabula  forensia  dilucide 
exponens:  accurrante  Johannae  Hawkins. 


PLAYS 


209 


Londiniy  Th.  Payne  et  filius.  1787.  8vo.  1789.  8vo.  Best 
edition. 

The  second  English  translation,  called  The  English  Lawyer, 
by  Edward  Ravenscroft,  was  acted,  in  1678,  at  the  Royal 
Theatre.  Ruggle's  original  Latin  play  was  acted  by  the 
scholars  of  Westminster  in  1712,  1713,  1730,  and  1747.  A  new 
fifth  act,  prepared  for  the  Westminster  performance,  was  pub- 
lished in  the  editions  of  1731  and  1787. 

Ignoramus  was  acted  in  Clare  Hall  before  James  I,  March  8, 
1615.  John  Chamberlain  wrote,  "The  thing  was  full  of  mirth 
and  variety,  with  many  excellent  actors,  but  more  than  half 
marred  with  extreme  length."  The  performance  is  said  to 
have  lasted  six  hours.  King  James,  however,  enjoyed  the  play 
so  much  that  he  returned  to  Cambridge  to  see  a  second  per- 
formance a  few  weeks  later.  May  13,  1615. 

Ruggle's  comedy  is  based  on  La  Trappolaria,  of  Giovanni 
Battista  della  Porta  (Bergamo,  1596),  while  La  Trappolaria  in 
turn  harks  back  to  the  Pseudolus,  of  Plautus. 

Ruggle  shifted  the  scene  from  Naples  to  Bordeaux,  and 
changed  the  names  of  Porta's  characters,  adding  seven  new 
ones;  of  the  fifty-five  scenes  of  Ignoramus^  twenty-one  are 
borrowed  from  the  Italian,  sixteen  are  partial  imitations,  and 
eighteen  are  original. 

The  comedy  is  a  satire  on  lawyers,  with  local  Cambridge 
color,  growing  out  of  a  question  of  precedence  between  the 
mayor  of  the  town  and  the  vice-chancellor  of  the  university, 
'Ignoramus*  is  Francis  Brackyn,  deputy  recorder  of  Cam- 
bridge, and  counsel  for  the  mayor  before  the  privy  council. 

In  the  Clare  performance,  the  part  of  "Torcol,  portugallus 
leno,"  was  played  by  Isaac  Bargrave,  who  held  the  office  of 
*taxor'  in  the  university  at  the  time.  Bargrave  was  the  per- 
sonal friend  of  Sir  Henry  Wotton,  and  had  been  his  chaplain 
while  ambassador  to  Venice. 


210  ELIZABETHAN  TRANSLATIONS 


147 

1632.  Roxana:  Tragcedia  a  plagiarii  unguibus  vindicata, 
aucta  et  agnita  ah  autore  Gul.  Alabastro. 

Londini.  R.  Badger  for  Andrew  Crook.  1632.  12mo. 

Dedicated  to  Sir  Ralph  Freeman,  author  of  the  Itahanate 
tragedy,  Imperiale  (1640). 

WiUiam  Alabaster's  title  is  explained  by  his  statement  that 
he  had  written  the  tragedy  of  Roxana  '  some  forty  years  before 
for  one  night's  representation,  but  that  it  had  lately  been 
printed  by  some  plagiarist  as  his  own.'  The  one  performance 
would  be  about  1592,  and  was  probably  in  the  hall  of  Trinity 
College,  Cambridge.  A  copy  of  the  tragedy  that  is  preserved 
in  the  British  Museum  has  on  it,  written  in  a  17th  century 
hand,  the  following  note,  —  ^^Haud  multum  abest  haec  tragoedia 
a  pura  versione  tragoediae  Italicae  Ludovid  Groti  Caeci  Hadri- 
ensis  cui  titulus  'Dalida.'"  La  Dalida,  by  Luigi  Groto  or 
Grotto,  called  II  Cieco  d'  Adria,  was  published  in  1567.  Hallam 
compared  Roxana  with  La  Dalida,  and  found  that  "the  story, 
the  characters,  the  incidents,  almost  every  successive  scene, 
many  thoughts,  descriptions,  and  images  are  taken  from  the 
original."  (Henry  Hallam,  Introduction  to  the  Literature  of 
Europe  in  the  15th,  16th,  and  17th  Centuries.  Ed.  1847,  iii,  54.) 

Alabaster  makes  Roxana  a  princess  of  the  royal  house  of 
Bactria.  Her  story  as  he  tells  it  is  a  Senecan  tragedy  in  "  King 
Cambyses  vein."  Fuller  records  of  the  Trinity  College  pre- 
sentation that  Roxana  was  acted  "so  pathetically,  that  a 
gentlewoman  present  thereat  (Reader,  I  had  it  from  an  author 
whose  credit  it  is  a  sin  with  me  to  suspect),  at  the  hearing  of 
the  last  words  thereof,  sequar,  sequar,  so  hideously  pronounced, 
fell  distracted,  and  never  after  fully  recovered  her  senses." 
(Thomas  Fuller,  The  History  of  the  Worthies  of  England  iii, 
185  (ed.  P.  A.  Nuttall).  Retrospective  Review,  xii,  19.  F.  S. 
Boas,  University  Drama  in  the  Tudor  Age  (1914),  pp.  286-88.) 


PLAYS 


211 


148 

1636.  Lahynnthus:  Comcedia  hahita  coram  Sereniss,  Rege 
Jacoho  in  Academia  Cantahrigiensi. 

London.  1636.  12mo.  MS.  Ee.  5.  16  (3).  University  of 
Cambridge. 

The  author  of  Lahyrinthus  was  Walter  Hawkesworth,  fellow 
of  Trinity  College,  Cambridge,  who  died  in  1606.  His  Latin 
comedy  is  an  adaptation  of  Giovanni  Battista  della  Porta's 
La  Cintia  (1567).  When  Lahyrinthus  was  first  produced,  prob- 
ably in  January,  1598-99,  Hawkesworth  himself  acted  a  lead- 
ing part.  The  representation  at  Trinity  College  before  James  I 
is  supposed  to  have  taken  place  during  the  King's  third  visit 
to  Cambridge,  in  March,  1622-3.  (Retrospective  Review ^  xii, 
28,  35.  Jahrbuch  der  deutschen  Shakespeare  Gesellschaft,  xxxiv, 
308.  F.  S.  Boas,  University  Drama  in  the  Tvdor  Age  (1914), 
pp.  317-20.) 

149 

1637.  Pleasant  Dialogues  and  Dramma^s,  selected  out  of 
Luciany  Erasmus^  Textor,  Ovid,  &c.  With  sundry  Emblems 
extracted  from  the  most  elegant  Jacobus  Catsius.  As  also  certaine 
Elegies,  Epitaphs,  and  Epithalamions  or  Nuptiall  Songs;  Ana- 
grams and  Acrostics;  With  divers  Speeches  (upon  severall  occa- 
sions) spoken  to  their  most  Excellent  Majesties,  King  Charles, 
and  Queene  Mary.  With  other  Fancies  translated  from  Besa, 
Bucanan,  and  sundry  Italian  Poets.  By  Tho.  Heywood.  [Aut 
prodesse  solent,  aut  delectare.] 

London,  Printed  by  R.  O.  for  R.  H.  and  are  to  be  sold  by 
Thomas  Slater  at  the  Swan  in  Duck-lane.  1637.  Sm.  8vo. 
152  leaves.  British  Museum.  Reprinted,  in  Materialen  zur 
Kunde  des  alter  en  englischen  Dramas.  Leipzig,  1903.  Band  iii. 

Dedicated  "To  the  Right  Honourable  Sir  Henry  Lord 
Cary,  Baron  of  Hunsdon,  Viscount  Rochford,  and  Earl  of 
Dover." 

A  collection  of  short  dramatic  pieces  and  poetical  dialogues 


212  ELIZABETHAN  TRANSLATIONS 


nowhere  else  printed.  There  is  also  a  collection  of  Prologues 
and  Epilogues.  Here  is  a  little  song  quite  in  the  spirit  of 
Heywood's  cheerful  Good-Morrow  Song;  — 

A  Song 
Howsoe're  the  minutes  go. 
Run  the  houres  or  swift  or  slow: 
Seem  the  months  or  short  or  long, 
Passe  the  seasons  right  or  wrong: 
All  we  sing  that  Phoebus  follow, 
Semel  in  anno  ridet  Apollo . 

Early  fall  the  Spring  or  not. 
Prove  the  Summer  cold  or  hot: 
Autumne  be  it  faire  or  foule. 
Let  the  Winter  smile  or  skowle: 
Still  we  sing  that  Phoebus  follow, 
Semel  in  anno  ridet  Apollo. 

British  Bibliographer »  Vol.  i,  p.  451. 

150 

1648-47.  II  Pastor  Fido.  The  faithfull  Shepheard  with  An 
Addition  of  divers  other  Poems  Concluding  with  a  short  Dis- 
course of  the  Long  Civill  Warres  of  Rome.  To  His  Highnesse 
the  Prince  of  Wales.  By  Richard  FanshaWj  Esq.  Horat.  Pati- 
arque  vel  inconsultus  haberi. 

London.  Printed  for  Humphrey  Moseley,  and  are  to  be 
sold  at  his  Shop  at  the  Princes  Armes  in  S.  Pauls  Church- 
yard. 1648-47.  4to.  (A  second  title-page  for  the  Pastor 
Fido  alone  bears  the  date  1647.)  With  portrait  of  Giovanni 
Battista  Guarini,  by  J.  Cross.  British  Museum.  Also,  1664. 
8vo.  British  Museum.  1676.  8vo.  British  Museum.  1677. 
4to.  1689.  4to.  1694.  4to.  British  Museum.  1736.  Umo. 
British  Museum. 

Dedicated  to  Charles,  Prince  of  Wales,  with  commendatory 
verses  by  John  (afterwards  Sir  John)  Denham. 

Fanshawe's  translation  of  Guarini's  celebrated  pastoral  was 
made  for  the  marriage  of  Charles  Emmanuel,  Duke  of  Savoy, 
to  the  Infanta  of  Spain.  It  is  the  best  English  translation  of 


PLAYS 


213 


II  Pastor  Fido,  The  edition  of  1677  (1689-94)  is  Elkanah 
Settle's  adaptation  of  the  piece  to  the  stage;  that  of  1736  con- 
tains plates  and  the  original  Italian  of  Guarini.  Sir  Richard 
Fanshawe's  chief  work  is  a  translation  of  the  Lusiad  by  Luiz 
de  Camoes  (London,  1655),  so  well  done  that  it  is  still  a 
standard  translation. 

An  unpublished  Elizabethan  translation  of  II  Pastor  FidOy 
second  in  point  of  time,  third  in  all,  is,  — 

II  Pastor  FidOy  or  The  Faithful  Sheapheard^  Tr.  Guarini. 
J.  Sidnam.  1630.  British  Museum.  MS.  Addit.  29493. 
(Elizabethan  Drama,  1658-16J^2.  F.  E.  SchelHng,  ii,  596.) 

For  plays  on  the  subject  of  II  Pastor  Fido,  see  Dymoke's 
translation,  1602. 

151 

1655.  Filli  di  Sciro  or  Phillis  of  Scyros,  an  excellent  Pas- 
torall,  written  in  Italian  by  C.  Guid.  de  Bonarelli,  translated 
into  English  by  J.  S.  Gent. 

London.  1655.  4to.  British  Museum. 

A  translation  of  Filli  di  Sciro:  favola  pastorale  (in  five  acts 
and  in  verse),  by  Count  Guido  Ubaldo  Bonarelli  della  Rovere. 
Ferrara,  1607.  4to.  British  Museum.  With  Prologue,  La  Notte, 
by  Giovanni  Battista  Marini. 

"An  excellent  pastoral,  written  in  Italian  by  C.  Guidubaldo 
de  Bonarelli,  and  translated  into  Enghsh  by  J.  S.  gent.  By 
some  verses  prefixed  to  this  translation,  it  appears  to  have 
been  made  twenty  years  before.  A  translation  was  at  the 
same  time  made  of  Pastor  Fido,  but  both  of  them  were  laid 
aside.  Coxeter  imagines  that  these  translations  were  produced 
by  Sir  Edward  Sherborne,  who  was  then  only  seventeen  years 
old.  The  initial  letters  seem  to  point  out  James  Shirley  as  the 
translator."  {Biographia  Dramatica.) 

In  1903, 1  sent  to  a  bookseller  in  Toronto  for  a  copy  of  Filli 
di  Sciro,  which  was  advertised  to  contain  seven  etchings  by 
Sebastiano  Le  Clerc  and  a  book-plate.  I  was  agreeably  sur- 
prised to  discover  that  the  pastoral  had  been  published  in 


214  ELIZABETHAN  TRANSLATIONS 


Italian  in  Glasgow,  and  that  I  had  bought  a  Scott  book-plate 
with  my  own  motto  on  it,  "Doe  weell  and  let  them  say."  The 
title  of  the  Scottish  edition  rmis,  — 

Filli  di  Sdro,  Favola  Pastorale  del  C.  Guiduhaldo  d^  Bona- 
relli.  Con  le  Figure  di  Sebastiano  Le  Clerc. 

In  Glasgua,  della  stampa  di  R.  ed.  A.  Foulis  m.dcc.lxxii, 
Primieramente  stampata  in  Ferrara  m.dc.vii.  12mo,  pp.  171. 

Dedicated,  Ferrara,  20  September,  1607,  — 

"Al  Serenissimo  Signore  Don  Francescomaria  Feltrio  dalla 
Rovere  Duca  VI.  D'  TJrhino,  Lor  Signore  Colendissimo,  Gli 
Academici  Intrepidi" 

Across  the  title-page  is  written,  "John  Scott  j""  of  Melby 
1826."  The  book-plate  is  the  coat-of-arms  of  Scott  of  Melby. 

See  Scyros,  sl  Latin  pastoral,  acted  at  Trinity  College,  Cam- 
bridge, March  3,  1613. 

152 

1658.  A  Chaine  of  Golden  Poems  embellished  with  Wit, 
Mirth,  and  Eloquence.  Together  with  two  most  excellent  Come- 
dies, (viz.)  The  Obstinate  Lady,  and  Trappolin  supposed  a 
Prince.  Written  by     Aston  Cohayn. 

London.  Printed  by  W.  G.  and  are  to  be  sold  by  Isaac 
Pridmore,  at  the  Golden-Fleece  near  the  New-Exchange. 
1658.  Sm.  8vo.  With  portrait  of  the  author.  British  Museum. 

This  book  was  issued  with  four  different  title-pages:  Small 
Poems  of  Divers  Sorts  (1658),  A  Chain  of  Golden  Poems,  &c., 
(1658),  Poems.  With  The  Obstinate  Lady,  &c.  (1662),  Choice 
Poems  of  Several  Sorts  (1669). 

Trappolin  supposed  a  Prince  in  an  adaptation  of  an  Italian 
tragi-comedy  in  prose  and  verse,  entitled  Trappolino  creduto 
Principe,  as  the  Prologue  explains :  — 

Gallants,  be't  known,  as  yet  we  cannot  say 
To  whom  we  are  beholding  for  this  play; 
But  this  our  poet  hath  licens'd  us  to  tell. 
Ingenious  Italy  hath  Hked  it  well. 
Yet  it  is  no  translation;  for  he  ne'er 
But  twice  in  Venice  did  it  ever  hear. 


PLAYS 


215 


153 

1658.  La  Fida  Pastora,  Comoedia  Pastoralis.  Autore  F.  F. 
Anglo-Britanno,  Adduntur  nonnulla  varii  argumenti  Carmina 
ah  eodem.  Dux  vitce  Ratio. 

Londiniy  Typis  R.  Danielis,  Impensis  G.  Bedell  &  T.  Collins, 
&c.  1658.  Sm.  8vo.  British  Museum. 

The  Carmina  Varii  Argumenti  at  the  end  occupy  only  9 
leaves,  including  a  separate  title. 

The  translator,  F.  F.  Anglo-Britannus,  is  Sir  Richard 
Fanshawe.  The  pastoral  is  John  Fletcher's  The  Faithful 
Shepherdess  done  into  Latin  verse. 

154 

1660.  Aminta:  the  famous  Pastoral,  written  in  Italian  by 
Signor  Torquato  TassOy  and  translated  into  English  Verse  by 
John  Dancer.  Together  with  divers  ingenious  Poems. 

London:  1660.  8vo.  74  leaves. 

Third  EngHsh  translation  of  Aminta.  The  "ingenious 
Poems"  added  are  described  as  "writ  in  imitation  of  Mr. 
Cowley's  'Mistris.^^'  {The  Mistress:  or  Several  Copies  of  Love- 
Verses.  Abraham  Cowley,  1647.) 

155 

1897-98.  The  Buggbears.  'Johannes  Jeff  ere  scrihebat  hoc' 
finis  of  Act  V. 

First  printed  by  Dr.  Carl  Grabau,  in  three  numbers  of 
Archiv  fiir  das  Studium  der  neueren  Sprachen  und  Literaturen, 
jJanfig  98  and  99.  1897.  Again,  in 

Early  Plays  from  the  Italian.  Edited,  with  Essay,  Introduc- 
tions and  Notes,  by  R.  Warwick  Bond. 

Oxford.  Clarendon  Press.  1911,  pp.  75-157. 

"Buggbears  is  a  translation,  not  very  close,  from  [Anton- 
francesco]  Grazzini's  La  Spiritata  (1561) ;  combined  with  some 
scenes  from  [Adriano]  Politi's  GZ'  Ingannati  (1531),  and  others 
from  the  Andria  of  Terence:  and  La  Spiritata  owes  suggestions 


216  ELIZABETHAN  TRANSLATIONS 


to  [Giovammaria]  Cecchi's  Lo  Spirito  (1549),  which  is  itself 
indebted  to  Ariosto's  II  Negromante  (1520-30),  and  that  in 
some  measure  to  Machiavelli's  Mandragola  (1512-20) (Intro- 
ductory essay,  by  R.  W.  Bond,  on  the  classical  Italian  comedy. 
The  author  of  GU  Ingannati,  here  said  to  be  Adriano  Politi,  is 
unknown.  See  Laelia,  1910.) 

With  the  Elizabethan  manuscript  of  The  Bugghears  has  sur- 
vived the  music  of  two  of  its  songs.  Iphiginia's  song,  at  the 
end  of  the  third  act,  "Lend  me  you  lovers  all  yo""^  pleasaunt 
lovelye  layes,'*  is  headed  "Giles  peperel  for  Iphiginia,"  Giles 
Peperel  probably  being  the  boy  who  played  Iphiginia.  "The 
last  song"  is  a  chorus,  "Syth  all  oV  greff  isturnd  to  blyss," 
etc. 

Both  modern  editions  of  The  Bugghears  were  printed  from 
the  Lansdowne  MS.  807  in  the  British  Museum.  On  the  first 
leaf  of  this  manuscript  there  is  a  list  of  fifty-six  plays  with  this 
memorandum,  — 

"After  I  had  been  many  years  Collecting  these  MSS. 
Playes,  through  my  own  carlesness  and  the  Ignorance  of  my 
Ser  in  whose  hands  I  had  lodged  them  they  was  unluckely 
burnd,  or  put  under  pye  bottoms,  excepting  y®  three  which 
foUowes.  J.  W." 

*J.  W.'  is  the  antiquary,  John  Warburton,  and  The  Bugg- 
hears with  The  Queene  of  Corsica  and  The  Second  Maydens 
Tragedy,  are  the  three  plays  that  escaped  the  holocaust  that 
Betsy  Baker  kept  up  in  his  kitchen. 

156 

1906.  Victoria.  A  Latin  Comedy.  Edited  from  the  Penshurd 
Manuscript  hy  G.  C.  Moore  Smith,  M.A. 

Materialen  zur  Kande  des  dlteren  englischen  Dramas.  1906. 
Band  xiv,  pp.  ix-xiv. 

Dedicated  to  Sir  Philip  Sidney. 

Victoria,  the  name  of  the  heroine,  is  the  modem  title  of 
Abraham  Fraunce's  metrical  Latin  version,  made  before  1583, 
of  Luigi  Pasqualigo's  II  Fedele,  Venice,  1579.  At  about  the 


PLAYS 


217 


same  time  (1584)  Anthony  Munday  translated  II  Fedele,  as 
Fidele  and  Fortuna.  Fraunce's  translation  is  closer  to  the 
original,  except  for  the  addition  of  an  episode  taken  from  the 
Decameron^  ii,  5,  and  the  revision  of  portions  of  the  later  acts. 
See  Fidele  and  Fortuna  (1584). 

157 

1909.  HymencBus:  A  Comedy  acted  at  St,  John^s  College  Cam- 
bridge. Edited  by  G.  C.  Moore  Smith. 

Cambridge  University  Press,  January,  1909, 16mo,  pp.  100. 
MS.  Caius  College.  125. 

Hymenceus  is  a  Latin  comedy,  of  miknown  authorship, 
which  was  acted  at  St.  John's  College,  probably  in  March, 
1578-9.  Abraham  Fraunce  was  one  of  the  student  actors 
taking  the  part  of  Ferdinandus,  father  of  the  hero,  Erophilus. 
The  play  is  founded  on  the  Decameron,  iv,  10,  the  story  of 
Ruggieri  da  Jeroli  and  the  wife  of  Mazzeo  della  Montagna 
of  Salerno.  In  Hymenceus  the  heroine  is  the  daughter  of  an 
elderly  father,  with  three  suitors,  Erophilus,  a  Venetian,  a 
doctor,  and  a  drunken  German.  The  doctor  prepares  a  potion 
for  the  father,  which  Erophilus  drinks  by  mistake.  Uncon- 
scious, he  falls  into  the  hands  of  thieves,  and  goes  through  some 
startling  adventures,  that  bring  him  almost  to  the  gallows.  In 
the  denouement,  the  Venetian  wins  out  and  marries  the  lady. 
(F.  S.  Boas,  University  Drama  in  the  Tudor  Age  (1914), 
pp.  134-40.  Jahrbuch  der  deutschen  Shakespeare  Gesellschafty 
XXXIV,  287.) 

158 

1910.  Laelia.  A  Comedy  Acted  at  Queen^s  College,  Cambridge, 
probably  March  1,  1595.  Now  first  printed.  With  an  Introduc- 
tion and  Notes.  Edited  by  G.  C.  Moore  Smith. 

Cambridge  University  Press.  1910,  8vo,  pp.  144. 

Thomas  Fuller,  in  his  History  of  the  University  of  Cambridge, 
p.  156,  mentions  a  performance  of  Laelia  in  1598,  after  August 
4,  when  the  Earl  of  Essex  was  chosen  chancellor  of  Cambridge 


218  ELIZABETHAN  TRANSLATIONS 


University.  Mr.  Smith  argues  that  the  performance  before 
Essex  took  place,  March  1,  1595. 

Laelia  is  a  Latin  translation  of  an  Italian  comedy,  GV 
Ingannati,which.  was  composed  after  the  sack  of  Rome, in  1527, 
and  acted  in  Siena,  in  1531,  by  L'  Accademia  degV  Intronati 
(The  Thunderstruck).  The  comedy  was  published  imder  the 
misleading  title  Comedia  del  Sacrificio  degli  Intronati  celebrato 
nei  Giuochi  dun  Carnovale  in  Siena  (1538.  British  Museum), 
and  came  to  three  editions  (1537,  1538,  and  1550).  Charles 
Estienne  translated  II  Sacrificio,  as  Le  Sacrifice  (1543),  which 
was  republished  in  1549  and  1556  as  Les  Ahusez.  Bandello  tells 
the  tale  in  ii,  36  (1554),  Nicuola  enamoured  of  Lattanzio  goes 
to  serve  him  as  a  page;  Belief orest,  Histoires  Tragiques,  iv,  59 
(1570),  translates  Bandello  into  French;  Rich's  Apolonius  and 
Silla,  in  Farewell  to  Militarie  Profession,  Englishes  the  romance 
in  1581. 

Laelia  is  especially  interesting,  because,  wherever  Shakspere 
found  it,  Laelia's  story  is  the  source  of  Twelfth  Night.  Dra- 
matically, by  representing  Flaminius  (Orsino)  as  having  loved 
Laelia  (Viola)  before  he  transferred  his  affections  to  Isabella 
(Olivia),  Laelia  makes  more  plausible  the  final  union  of  hero 
and  heroine. 

In  addition  to  these  plays,  there  are  four  Latin  university 
dramas,  from  Italian  originals,  still  in  manuscript. 

Leander.  Latin  comedy.  MS.  Bodleian.  Rawl.  Misc.  341. 
MS.  British  Museum.  Shane.  1762. 

Leander,  by  Walter  Hawkesworth,  fellow  of  Trinity  College, 
Cambridge,  is  a  translation  of  Giovanni  Battista  della  Portals 
La  Fantesca  (1567).  The  comedy  was  acted  at  Trinity  College, 
in  1598,  and  again,  in  1602-03,  Hawkesworth  playing  *  Lean- 
der.* {Jahrbuch  der  deutschen  Shakespeare  Gesellschaft,  xxxiv, 
286.) 

Parthenia.  Latin  pastoral.  MS.  Emmanuel  College,  Cam- 
bridge. I,  3.  16. 

Parthenia  is  a  translation  of  II  Pentimento  Amoroso  (Venice, 
1576, 12  mo),  by  Luigi  Groto,  II  Cieco  d'Adria.  It  was  acted  at 


PLAYS 


219 


Cambridge,  before  1603.  (Jahrbuch  der  deutscken  Shakespeare 
Gesellschaft,  xxxiv,  318-22,  where  this  play  is  described.) 

Pastor  FiduSy  recitata  in  CoUegio  Regali  Cantahrigice.  MS. 
Cambridge  University  Library.  Ff .  ii,  9. 

II  Pastor  Fidoy  by  Giovanni  Battista  Guarini,  was  pubHshed 
in  Venice  and  Ferrara,  in  1590.  12mo.  The  presentation  of 
Pastor  Fidus  at  King's  College,  Cambridge,  must  have  been 
after  that  date.  F.  E.  Schelling,  in  Elizabethan  Dramay  1558- 
16J{.2y  p.  596,  dates  Pastor  FiduSy  1606.  Pastor  Fidus  is  de- 
scribed in  Jahrbuch  der  deutschen  Shakespeare  Gesellschaft 
XXXIV,  1898,  where  it  is  suggested  that  the  translator  was  one 
of  the  Fletchers. 

Scyros.  Fabula  Pastoralis.  MS.  Cambridge  University  Li- 
brary. Ee.  5.  16.  MS.  Emmanuel  College  Library. 

ScyroSy  by  Dr.  Samuel  Brooke,  Master  of  Trinity  College, 
Cambridge,  is  a  translation  of  Filli  di  Sciro  (Ferrara,  1607), 
by  Guidubaldo  Bonarelli  della  Rovere.  It  was  acted  at  Trinity 
College,  March  3,  1613,  before  Prince  Charles  and  the  Elector 
Palatine  Frederick,  who  went  to  sleep  during  the  performance. 
See  Filli  di  Sciro.  1655. 

For  college  plays  before  1603,  consult  F.  S.  Boas,  University 
Drama  in  the  Tudor  Age,  1914. 


IV 

METRICAL  ROMANCES 


IV 


METRICAL  ROMANCES 
159 

1555.  The  Auncient  Historie  and  onely  trewe  and  syncere 
Cronicle  of  the  warres  betwixte  the  Grecians  and  the  TroyanSy 
and  subsequently  of  thefyrst  ever cy on  of  the  auncient  andfamouse 
Cytye  of  Troye,  under  Lamedon  the  Kingy  and  of  the  laste  and 
fynall  destruction  of  the  same  under  Pryam;  wrytten  by  Daretus 
a  TroyaUy  and  Dictus  a  Grecian,  both  souldiours,  and  present 
in  all  the  sayde  warres;  and  digested  in  Latyn  by  the  lerned 
Guy  do  de  Columpnis  [Guido  delle  Colonne,  who  was  the  com- 
piler of  the  work]  and  sythes  translated  into  englyshe  verse  by 
J.  Lydgate  Moncke  of  Burye.  [Edited  by  Robert  Braham.] 

Thomas  Marshe,  London,  1555.  Folio.  Black  letter.  Brit- 
ish Museum. 

Lydgate  mainly  paraphrased  Guido  delle  Colonne's  Historia 
de  Bello  Trojano,  and  perhaps  Dares  Phrygius  and  Dictys  Cre- 
tensis.  His  poem  is  made  up  of  fifteen  thousand  heroic  coup- 
lets, with  prologue  and  epilogue. 

The  poets  of  the  Middle  Ages  all  accepted  Dares  Phrygius, 
priest  of  Hephaestus,  as  a  trustworthy  historian  who  had  him- 
self been  in  the  Trojan  war.  Homer,  known  only  in  a  Latin 
abridgment,  received  scant  credence,  and  even  abuse,  as  a  fal- 
sifier of  history.  The  Roman  de  Troie,  based,  among  other 
sources,  upon  Dares,  comes  into  English  in  two  distinct  streams, 
to  either  of  which  we  may  be  indebted  for  Shakspere's  play  of 
Troilus  and  Cressida. 

Benoit  de  Sainte-Maure,  a  French  trouvere  of  the  Court  of 
Henry  II,  dedicated  to  the  Queen,  Alienor  de  Poitou,  his 
Roman  de  Troie,  of  about  1160.  The  most  important  episode 
of  Benoit  is  that  of  Troilus  and  Briseida,  which  in  the  Latin 


224  ELIZABETHAN  TRANSLATIONS 


version  of  the  Roman  mside  by  Guido  delle  Colonne,  1287,  sug- 
gested to  Boccaccio  the  Filostrato.  Boccaccio,  through  Chaucer 
{Troylus  and  Cryseyde)  and  Lydgate,  may  thus  be  Shakspere's 
source. 

In  1464,  Raoul  le  Fevre's  Le  Recueil  des  histoires  de  troyes^ 
a  translation  of  Guido  delle  Colonne,  gave  to  French  literature 
a  second  Trojan  cycle.  Caxton's  Recuyell  of  the  historyes  of 
Troye  [1474  .^^],  the  first  printed  book  in  English,  is  a  transla- 
tion of  Le  Fevre;  this  book  went  through  several  editions,  and 
appears  finally  as  The  ancient  historie  of  the  destruction  of  Troy, 
.  .  .  Newly  corrected,  and  the  English  much  amended,^  by  Wil- 
liam Phiston.  1607.  4to. 

Thomas  Paynell,  another  translator,  Englished,  from  Latin, 
The  faythfull  and  true  storye  of  the  Destruction  of  Troy,  com- 
fyled  by  Dares  Phrygius.  John  Cawood.  London.  1553.  8vo. 
Bodleian. 

Or  the  source  of  Shakspere's  history  may  be  an  older  play 
of  the  same  name;  Henslowe's  Diary  of  April  7  and  16,  and 
May  30,  1599,  records  full  payment,  to  Henry  Chettle  and 
Thomas  Dekker,  for  "  the  Boocke  called  the  tragedie  of  Troylles 
and  creseda." 

160 

1562.  The  Tragicall  Historye  of  Romeus  and  Juliet,  written 
first  in  Italian  by  Bandell,  and  nowe  in  Englishe  by  ^r[thur] 
Br[6ke]. 

In  JEdibus  Richardi  Tottelli,  Cum  Priuilegio.  [Colophon.] 
Imprinted  at  London  in  Fletestrete  within  Temble  [sic]  barre, 
at  the  signe  of  the  hand  and  starre,  by  Richard  Tottill  the 
XIX  day  of  November.  An.  do.  1562.  Sm.  Svo.  Black  letter. 
Bodleian,  Capell  Collection.  J.  P.  Collier  and  W.  Carew  Haz- 
litt.  Shakespeare* s  Library.  Vol.  i.  1875.  8vo.  P.  A.  Daniel, 
for  The  New  Shakspere  Society.  Originals  and  Analogues. 
Parti.  1875.  8vo. 

This  metrical  paraphrase  of  the  story  of  Romeo  and  Juliet 
was  made  from  Boaistuau-Belleforest's  Histoires  Tragiques, 


METRICAL  ROMANCES 


225 


torn.  1,  based  on  Bandello,  ii,  9.  It  is  interesting  to  note  that 
it  is  the  earhest  translation  from  Bandello  in  English.  But 
Bandello  was  not  the  original  author  of  the  tale;  he  took  it 
from  a  popular  novella.  La  Giulietta,  1535,  by  Luigi  da  Porto, 
and  there  is  still  an  earlier  version,  in  Masuccio,  //  Novellino, 
1476,  Novella  xxxiii,  the  tragedy  of  Mariotto  and  Giannozza. 

Broke  states  that  he  had  seen  "the  same  argument  lately 
set  foorth  on  the  stage";  this  first  Romeo  and  Juliet,  acted 
before  1562,  must  be  therefore  the  first  English  tragedy  on  a 
subject  taken  directly  or  indirectly  from  an  Italian  novel. 

Shakspere's  Romeo  and  Juliet  is  founded  on  Broke's  para- 
phrase, although  it  is  not  improbable  that  he  may  have  seen 
the  lost  early  play.  It  was  Broke's  poem  that  misled  Shak- 
spere  in  omitting  the  pathetic  incident  of  Juliet's  coming  out 
of  her  trance  before  the  death  of  Romeo.  This  is  the  only 
circumstance  that  Luigi  da  Porto  added  to  Masuccio's  tale, 
and  if  Shakspere  had  known  of  it  his  dramatic  instinct  must 
have  seized  upon  it  at  once  to  heighten  the  tragical  effect  of 
the  parting  of  the  lovers.  The  Italian  tragedy  on  the  same 
subject,  Luigi  Groto's  Hadriana,  is  dramatically  true  in  fol- 
lowing Da  Porto's  novella. 

Besides  Painter's  translation  of  this  tale.  The  Palace  of 
Pleasure,  ii,  25  (1567),  The  Tragicall  historie  of  Romeus  and 
Juliet  {Capell  Collection)  appeared  in  1587,  and  the  story  is  also 
told  in  The  Treasurie  of  Auncient  and  Moderne  Times  (1619); 
the  romance  is  referred  to,  — 

By  George  Turberville,  in  Epitaphes,  etc.,  An  Epitaph  on 
the  death  of  Maister  Arthur  Brooke  (1563). 

By  Thomas  de  la  Peend,  in  The  Pleasant  Fable  of  Her- 
maphroditus  and  Salmacis  (1565). 

By  George  Gascoigne,  in  A  Device  of  a  Maske  for  the  right 
honorable  Viscount  Mountacute  (1572). 

(W.  C.  Hazlitt's  Gascoigne,  i,  85.  Roxburghe  Club.  1869) . 

By  Barnabe  Rich,  in  A  right  excelent  and  pleasaunt  Dialogue, 
betwene  Mercury  and  an  English  Souldier :  etc.  [1574]. 

By  George  Pettie,  in  A  Petite  Pallace  of  Pettie  his  Pleasure 
[1576]. 


226  ELIZABETHAN  TRANSLATIONS 


By  Thomas  Procter  and  Owen  Eoydon,  in  A  gorgious  Gal- 
lery of  gallant  Inuentions  (1578). 

A  Poor  Knight :  his  Palace  of  Private  Pleasure  (1579) . 

By  George  Whetstone,  in  An  Heptameron,  The  thyrd  Daies 
Exercise  (1582). 

By  Richard  Stanyhurst,  in  The  first  foure  Bookes  of  Virgils 
Mneisy  Translated  into  English  Heroicall  Verse.  .  .  .  With 
other  Poeticall  deuises  thereto  annexed;  in  particular,  among  the 
Poeticall  deuises^  in  An  Epitaph  entituled  Commune  Defunc- 
torumy  such  as  our  unlearned  Rithmours  accustomably  make 
upon  the  death  of  euerie  Tom  Tyler,  as  if  it  were  a  last  for  euery 
one  his  foote. 

By  Bryan  Melbancke,  in  Philotimus  (1583). 

By  Clement  Robinson,  in  A  Handefvll  of  Pleasant  Delites 
(1583). 

See  Quellen  und  Forschungen.  Heft  70.  E.  Koeppel.  Studien 
zur  Geschichte  der  italienischen  Novelle,  (With  some  correc- 
tions.) 

161 

1562.  The  most  wonderfull  and  pleasant  history  of  Titus  and 
GisippuSy  whereby  is  fully  declared  the  figure  of  perfect  frenshyp, 
drawen  into  English  metre.  By  Edward  Lewicke. 

Anno  1562.  Imprinted  by  Thomas  Hacket,  and  are  to  be 
solde  at  his  shop  in  Lumbarde  Streete.  8vo.  "Finis  quod 
Edward  Lewick." 

The  romance  of  Titus  and  Gisippus  is  found  in  the  Decam- 
eron X,  8.  J.  P.  Collier  has  shown  {The  Poetical  Decameron, 
Vol.  II,  pp.  84  and  85)  that  Lewicke  was  indebted  to  The 
Gouernour  of  Sir  Thomas  Elyot,  not  only  for  the  form  of 
his  narrative,  but  "even  for  some  of  his  very  words  and 
phrases."  Chapter  xii  of  the  Seconde  Boke  of  The  Boke 
named  The  Gouernour  (H.  H.  S.  Croft's  edition,  1883)  is  en- 
titled, "The  wonderfull  history  of  Titus  and  Gisippus,  and 
whereby  is  fully  declared  the  figure  of  perfet  amitie.'* 

It  is  uncertain  whether  Sir  Thomas  Elyot  translated  directly 


METRICAL  ROMANCES 


227 


from  Boccaccio,  or,  as  is  more  likely,  made  use  of  a  Latin  ver- 
sion, by  the  celebrated  Philip  Beroaldo,  whose  editions  of  the 
classics  were  in  great  repute  in  the  sixteenth  century.  Bero- 
aldo's  title  reads,  Mithica  historia  Johannis  Boccatii,  poetae 
laureatif  de  Tito  Romano  Gisippoque  Atheniensi,  philosophioe 
tironibus  ac  commilitonibuSy  amicitioB  vim  elucidans,  nuper  per 
Philippum  Beroaldum  ex  italico  in  latinum  transversa. 

No  date  [conjectured,  Leipsig,  1495?].  4to.  British  Museum. 

There  is  also  a  metrical  translation  of  Titus  and  Gisippus 
printed  by  Wynkyn  de  Worde,  Ye  hystory  of  Tytus  &  Gesyp- 
pus  translated  out  of  latyn  into  englysche  by  Wyllyam  Walter. 

London,  n.  d.  4to.  By  me  Wynkyn  de  Worde. 

According  to  Brunet,  the  Latin  text  which  Walter  trans- 
lated was  written  by  Matteo  Bandello,  and  published  at 
Milan,  in  1509.  Warton  gives,  "An  exceedingly  scarce  book, 
Titi  Romani  et  Hegesippi  Atheniensis  Historia  in  Latinum 
versa  per  Fr.  Mattheum  Bandellum  Castronovensem.  Mediolani, 
Apud  Gotard  de  Ponte.^^  1509.  4to. 

A  play  called  Titus  and  Gisippus  was  acted  at  Court,  Febru- 
ary 17,  1577;  it  may,  however,  have  been  Ralph  Radcliffe's 
Friendship  of  Titus  and  GysippuSy  De  Titi  et  Gisippi  Amicitia, 
revived  from  the  time  of  King  Edward  VI,  and  now  lost. 

Two  later  Elizabethan  plays  treat  the  theme  as  comedy, 
Monsier  Thomas,  or  Father's  Own  Son  (1639.  4to.  John 
Fletcher),  and  The  City  Nightcap,  or  Crede  quod  habes  et  habes 
(1661.  4to.  Robert  Davenport).  In  1842,  Gerald  Griffin  wrote 
Gisippus  or  The  Forgotten  Friend.  The  drama  was  produced  at 
Drury  Lane,  with  Macready  as  Gisippus  and  Helen  Faucit 
as  Sophronia. 

The  first  paper  in  Goldsmith's  short-lived  periodical,  The 
Bee,  is  a  prose  version  of  Titus  and  Gisippus,  although  the 
romance  is  there  said  to  be  taken  from  a  Byzantine  historian, 
and  the  friends  are  called  Alcander  and  Septimius.  (Gold- 
smith's Miscellanies,  The  Bee,  No.  1,  October  6,  1759.) 

See  Philomela  (1592). 


228  ELIZABETHAN  TRANSLATIONS 


162 

1565.  The  Historie  of  John  Lorde  Mandozze  translated  from 
the  Spanish  by  Thomas  de  la  Peend. 

London,  by  T.  Colwell,  1565,  12mo,  64  leaves,  with  one 
missing  from  the  middle  and  a  considerable  number  from  the 
end. 

Dedicated,  from  the  Middle  Temple,  to  Sir  Thomas  Kemp, 
Knight,  kinsman  to  the  author. 

This  curious  poem,  of  which  only  a  fragment,  about  three- 
fourths  of  the  whole,  is  preserved,  is  written  in  alternate  lines 
of  fourteen  and  sixteen  syllables.  It  is  founded  on  Bandello, 
II,  44,  Amore  di  Don  Giouanni  di  Mendozza^  e  de  la  Duchessa 
di  Sauoia,  con  varii  e  mirahili  accidenti  che  intervengono. 
Painter  translated  the  novella  as  The  Duchesse  of  Sauoie,  The 
Palace  of  Pleasure,  i,  45.  Jacobs  agrees  with  Hazlewood  that 
Peend  must  have  had  proof  sheets  of  Painter,  but  Koeppel  finds 
a  common  source  in  Belleforest,  i,  6. 

In  brief,  the  Duchess  of  Savoy,  falsely  accused  of  unfaith- 
fulness, is  saved  from  death  by  the  opportune  arrival  of  a 
champion  in  Don  John  of  Mendozza. 

The  romance  is  mentioned  by  George  Pettie,  in  his  Petite 
Palace  (1576) ;  by  Robert  Greene,  in  Mamillia  (1583) ;  and  by 
Clement  Robinson,  in  A  Handefull  of  Pleasant  Delites  (1584). 

For  an  abstract  of  the  poem,  see  Sir  Samuel  Egerton 
Brydges,  The  British  Bibliographer,  ii,  pp.  523-32  and  587-93. 

See  The  Palace  of  Pleasure  (ed.  Joseph  Jacobs,  1890),  i,  107 
seq. 

163 

[1565-66?]  The  Historie  of  Ariodanto  and  leneura,  daugh- 
ter to  the  King  of  Scottes,  in  English  Verse  by  Peter  Beuerley  [of 
Staple  Inn]. 

Imprinted  at  London,  by  Thomas  East  for  Fraunces  Col- 
docke,  n.  d.  Sm.  8vo.  91  leaves.  1600.  12mo.  (Warton,  not 
now  known.) 


METRICAL  ROMANCES 


229 


Entered  on  the  Stationers*  Register  A,  in  1565-66,  under  the 
almost  unrecognizable  title,  The  tragigall  and  pleasaunte  history 
Ariounder  Jenevor,  the  Doughter  unto  the  Kynge  of  [Skottes]. 

The  history  of  Ariodante  and  Ginevra  is  founded  on  a  tale 
in  Ariosto's  Orlando  FuriosOy  Canto  v.  Bandello  has  a  novella 
on  the  same  theme,  i,  20,  and  also  Cintio,  Gli  Hecatommithiy 
V  Introduzione,  Novella  Nona.  Belief  orest  (Histoires  Tragiques, 
Vol.  Ill,)  follows  but  scarcely  translates  Bandello.  It  was  a  very 
popular  tale,  and  was  used  by  Shakspere,  in  Much  Ado  About 
Nothing y  the  story  of  Hero,  Claudio,  and  Don  John.  Spenser 
also  tells  it.  The  Faerie  Queene,  Bk.  ii.  Canto  iv,  Stanza  17 
seq. 

Sir  John  Harington,  in  the  Morall  of  the  fifth  book  of  his 
translation  of  Orlando  Furioso,  says,  of  the  history  of  Ginevra, 
"  sure  the  tale  is  a  pre  tie  comicall  matter,  and  hath  bin  written 
in  English  verse  some  few  years  past  (learnedly  and  with  good 
grace)  though  in  verse  of  another  kind,  by  M.  George  Tur- 
bervil."  No  trace  of  Turberville's  version  has  yet  been 
found. 

The  Revels  Accounts  (1582,  edited,  by  Peter  Cunningham, 
for  the  Shakespeare  Society,  1842)  mention,  "^4  Historie  of 
Ariodante  and  Geneuera  shewed  before  her  Majestic  on  Shrove 
Tuesdaie  at  Night,  enacted  by  Mr.  Mulcaster's  children." 

Mr.  Mulcaster's  children  were  the  boys  of  the  Merchant 
Taylors'  School.  See  Orlando  Furioso  (1591). 

164 

1569.  A  Notable  History e  of  Nastagio  and  Trauersari,  no 
less  pitieful  than  pleasaunt.  Translated  out  of  Italian  into  Eng- 
lishe  verse  by  C,  ^.[Dr.  Christopher  Tye  (?)] 

aS'  amor  non  puol  a  un  cor  ingrato  &  empio 

Giovanelli  timore,  e  crudel  scempio. 

Imprinted  at  Londo  in  Paules  Churchyarde  by  Thomas 
Parfoote  dwelling  at  the  signe  of  the  Lucrece.  Anno  1569. 
Svo.  Black  letter.  16  leaves. 

This  is  a  versification  of  the  Decameron  (v,  8),  the  romance 


230  ELIZABETHAN  TRANSLATIONS 


of  the  spectre  huntsman;  it  is  the  origin  of  the  *  retributive 
spectre '  stories. 

Nastagio  and  Trauersari  was  also  versified  by  George  Tur- 
berville,  in  his  Tragical  Tales  (1587,  which  see,  the  first  tale). 
A  third  metrical  version  was  made  by  Dryden  in  his  Fables 
(1700),  under  the  title,  Theodore  and  Honoria. 

Byron  alludes  to  Dryden's  poem  in  Don  Juan  :  — 

Sweet  hour  of  twilight !  in  the  solitude 

Of  the  pine  forest,  and  the  silent  shore 
Which  bounds  Ravenna's  immemorial  wood, 

Rooted  where  once  the  Adrian  wave  flow'd  o'er. 
To  where  the  last  Caesarean  fortress  stood, 

Ever-green  forest!  which  Boccaccio's  lore 
And  Dryden's  lay  made  haunted  ground  to  me. 
How  have  I  loved  the  twilight  hour  and  thee! 

The  shrill  cicalas,  people  of  the  pine. 

Making  their  summer  lives  one  ceaseless  song. 

Were  the  sole  echoes,  save  my  steed's  and  mine. 
And  vesper-bells  that  rose  the  boughs  along; 

The  spectre  huntsman  of  Onesti's  line. 

His  hell-dogs,  and  their  chase,  and  the  fair  throng. 

Which  learn'd  from  this  example  not  to  fly 

From  a  true  lover,  shadow'd  my  mind's  eye. 

Don  Juan,  Canto  iii.  Stanzas  cv,  cvi. 

Christopher  Tye  (1497(.?^)-1572)  took  the  degree  of  doctor 
of  music  at  Cambridge,  in  1545,  and  was  musical  instructor  to 
Prince  Edward  and  probably  to  the  Princesses  Mary  and  Eliza- 
beth. He  was  master  of  the  choir  boys  at  Ely  Cathedral,  from 
1543  to  1547,  and  again,  from  1559  to  1562.  Sir  John  Hawkins 
says  he  was  the  inventor  of  the  anthem. 

"  The  Actes  of  the  Apostles  set  to  music  by  Dr.  Tye  were  sung 
in  the  Chapel  of  Edward  VI,  and  probably  in  other  places 
where  choral  service  was  performed;  but  the  success  of  them 
not  answering  the  expectation  of  their  author,  he  applied  him- 
self to  another  kind  of  study,  the  composing  of  music  to  words 
selected  from  the  Psalms  of  David,  in  four,  five,  and  more  parts, 
to  which  species  of  harmony,  for  want  of  a  better,  the  name 


METRICAL  ROMANCES 


231 


of  Anthem,  a  corruption  of  Antiphon,  was  given."  (Sir  John 
Hawkins.  A  General  History  of  the  Science  and  Practice  of 
Music  lEd.  Novello,  1853],  p.  455.) 

Christopher  Tye's  finest  work  is  found  in  his  Actes  of  the 
Apostles  and  in  his  beautiful  old  anthems,  some  of  which,  such 
as  "I  will  exalt  thee,*'  and  "Sing  unto  the  Lord,"  are  still  sung. 
The  third  and  eighth  tunes  of  the  Actes  of  the  Apostles,  short- 
ened into  common  metre  psalm  tunes,  are  the  well-known 
hymns  Windsor  or  Eaton  and  Winchester.  Windsor  is  known 
in  Scotland  as  Dundee,  where  it  is  immortalized  in  Burns's 
The  Cotter's  Saturday  Night,  — 

Perhaps  Dundee's  wUd  warbling  measures  rise, 
Winchester  is  now  sung  to  the  Christmas  carol,  — 
While  shepherds  watch'd  their  flocks  by  night. 

Dr.  Burney,  in  his  History  of  Music,  says  of  Tye :  "  Perhaps 
as  good  a  poet  as  Sternhold,  and  as  great  a  musician  as  Europe 
could  then  boast." 

It  is  highly  probable  that  Samuel  Rowley,  the  dramatist,  was 
a  connection  of  Tye's,  possibly  the  son  of  Mary  Tye  who  mar- 
ried Robert  Rowley  at  Ely  in  1560.  At  all  events,  Christopher 
Tye  is  a  character  in  Samuel  Rowley's  play.  When  You  See  Me, 
You  know  Me,  or  The  Famous  Chronicle  History  of  Henry  8 
(1605.  4to).  A  dialogue  of  this  drama,  between  Prince  Ed- 
ward and  his  music  master,  gives  us  King  Henry  VIII's  opin- 
ion of  Dr.  Tye  in  language  of  strong  Tudor  flavor:  — 

Prince  Edward.  I  oft  have  heard  my  father  merrily  speake 
In  your  high  praise;  and  thus  his  highnesse  saith, 
England  one  God,  one  truth,  one  doctor  hath 
For  musickes  arte,  and  that  is  Doctor  Tye. 

The  story  of  Nastagio  and  Traversari  was  dramatized  by 
James  Shirley,  in  his  comedy,  Honoria  and  Mammon  (1659. 
8vo),  which  is  but  an  enlargement  of  his  masque,  A  Contention 
for  Honour  and  Riches  (1633.  4to). 

Grant  Duff  tells  this  story  of  Lord  Houghton:  The  Cosmo- 
politan Club  was  accustomed  to  meet  in  a  room  which  had  been 


232  ELIZABETHAN  TRANSLATIONS 


Watts's  studio,  and  on  tlie  walls  of  which  hung  an  enormous 
picture  by  him  from  Theodore  and  Honoria.  Some  one  once 
asked  Lord  Houghton  what  this  represented.  *'0h,"  he  re- 
plied, "you  have  heard  of  Watts's  Hymns.  These  are  Watts's 
Hers." 

See  Tragicall  Tales  Translated  by  Turbervile  (1576),  and  The 
Forrest  of  Fancy  (1579). 

165 

[1570?]  A  Discourse  of  the  great  crueltie  of  a  widow  towards 
a  young  gentleman^  and  by  what  means  he  requited  the  same. 
Set  forth  in  English  verse  by  Jo:  Go[ubourne.'^] 

[Colophon.]  Imprinted  at  London,  by  Henry  Binneman, 
dwelling  in  Ejiightrider  Streate,  at  the  Signe  of  the  Mermaid. 
[1570.^]  8vo.  Bagford  Papers. 

This  romance  is  taken  from  Bandello,  iii,  17,  //  S.  Filiberto 
5'  innamora  di  M.  Zilia,  che  per  un  bacio  lo  fa  stare  lungo  tempo 
mutoloy  e  la  uendetta  che  egli  altamente  ne  prese.  It  was  a  popu- 
lar tale,  and  is  found  in  Painter,  Palace  of  Pleasure  (1567),  11, 
27,  The  Lord  of  Virle;  in  Fenton,  Certaine  Tragicall  Discourses 
(1567),  No.  11,  The  Crueltie  of  a  Wydowe;  and  in  Westward  for 
Smelts  (1620),  No.  6,  The  Fishwife's  Tale  of  Hampton.  Pettie, 
Petite  Pallace  (1576),  mentions  Zilia  and  the  Knight  Virle. 

Two  Elizabethan  plays  are  founded  on  the  tale,  The  Dumb 
Knight  (1608.  4to),  Gervase  Markham  and  Lewis  Machin, 
and  The  Queen,  or  the  Excellency  of  her  Sex  (1653),  Anonymous. 

166 

[1570?]  A  pleasant  and  delightfull  History  of  Galesus,  Cymon, 
and  Iphigenia,  describing  the  Fickleness  of  Fortune  in  loue. 
Translated  out  of  Italian  into  English  verse  by  T.  C.  Gent, 

Di  rozzo  inerto,  e  vil,  fa  spesso  amore 

Generoso,  et  cortese,  un  nobil  cor. 

[London.]  Printed  by  Nicolas  Wyer,  dwelling  at  the  signe 
of  S.  John  Euangelist  in  S.  Martins  parish  beside  Charing- 
crosse,  n.  d.  [c.  1570.]  8vo.  Black  letter.  26  leaves. 


METRICAL  ROMANCES 


233 


Warton  conjectures  T.  C.  to  be  either  Thomas  Campion,  or 
Thomas  Churchyard. 

A  versifying  of  //  Decamerone^  v,  1,  Cimoney  amando,  divien 
savioy  etc.  The  idea  embodied  in  the  character  of  Cimone,  the 
civihzing  influence  of  love,  had  aheady  been  twice  worked  out 
by  Boccaccio,  first  in  his  prose  romance,  Ameto,  and  again  in 
the  pastoral,  Ninfale  Fiesolano.  Dryden  translated  the  ro- 
mance of  Cymon  and  Iphigenia  in  his  Fables  (1700). 

*Cymon  and  Iphigenia'  is  the  subject  of  an  early  painting 
by  Sir  John  E.  Millais  (1847).  Sir  Frederick  Leighton  painted 
*  Cymon  and  Iphigenia'  in  1884. 

167 

1570.  The  Pity  full  Historie  of  two  louing  Italians  y  Gaulfrido 
and  Barnardo  le  vayne:  which  ariued  in  the  countrey  of  Grece^ 
in  the  time  of  the  noble  Emperoure  Vaspasian.  And  translated 
out  of  Italian  into  Englishe  meeter  by  lohn  Drout,  of  Thauis 
Inne  Gentleman. 

Anno  1570.  Imprinted  at  London  by  Henry  Binneman, 
dwelling  in  Knightrider  streete,  at  the  signe  of  the  Mermayde. 
Svo.  Black  letter.  32  leaves. 

Twenty-five  copies  reprinted,  in  black  letter,  for  Mr.  J.  P. 
Collier,  by  F.  Shoberl,  jun.  1844.  4to.  British  Museum. 

Dedicated  to  Sir  Francis  Jobson,  Knight,  Lieutenant  of  the 
Tower. 

In  verse,  the  fourteen-syllabled  metre  of  the  time,  divided 
into  lines  of  eight  and  six  syllables.  *The  pityfull  historic'  is 
pitiful  indeed,  for  no  person  concerned  in  it  escapes  death. 
Part  of  the  history  relates  to  that  of  Romeo  and  Juliet. 

*  Galfrido  and  Bernardo '  is  an  entry  in  Henslowe's  Diary  un- 
der date.  May  18,  1595.  Fleay  asserts  that  the  entry  is  a  for- 
gery {Chronicle  of  the  English  Drama,  Vol.  ii,  p.  301). 

168 

1576.  A  Most  lamentable  and  Tragicall  Historie,  Conteyning 
the  outrageous  and  horrible  tyrannie  which  a  Spanishe  gentle- 


4. 


234  ELIZABETHAN  TRANSLATIONS 


woman  named  Violenta  executed  upon  her  Louer  Didaco,  be- 
cause he  espoused  another  beyng  first  betrothed  unto  her.  Newly 
translated  into  English  Meter ,  by  T.  A.  [Thomas  Achelley]. 

Imprinted  at  London  by  John  Charlewood  for  Thomas 
Butter  dwelling  in  Paules  Chm-chyarde  neere  to  S.  Austines 
gate  at  the  Shippe.  1576.  8vo.  39  leaves.  Bodleian. 

Dedicated,  in  prose,  *'  to  the  Right  Worshipful  Sir  Thomas 
Gresham,  Knight." 

Violenta  and  Didaco  is  a  metrical  translation  of  Bandello, 
I,  42. 

The  tale  had  already  been  done  into  English  by  William 
Painter,  The  Palace  of  Pleasure,  i,  42  (1566),  and  it  is  one  of  the 
stories  of  The  Fortunate^  the  Deceived,  and  the  Unfortunate 
Lovers  (1632).  It  is  inadequately  reproduced  in  Beaumont 
and  Fletcher's  Triumph  of  Death  (Four  Plays  in  One),  acted 
in  1608. 

169 

1576.  Tragicall  Tales,  translated  by  Turbervile  in  time  of  his 
troubles,  out  of  sundry  Italians;  with  the  argument  and  VEn- 
uoye  to  ech  Tale.  Nocet  empta  dolor e  voluptas. 

Imprinted  at  London  by  Abell  Jeffs,  dwelhng  in  the  Fore- 
street  without  Crepelgate  at  the  signe  of  the  Bel.  Anno  Dom. 
1576,  1587.  Sm.  8vo.  Black  letter.  200  leaves.  Edinburgh, 
1837.  4to.  50  copies.  Bodleian.  Edinburgh  University  Li- 
brary, presented  by  William  Drummond,  of  Hawthornden. 

Dedicated  *'to  the  right  worshipful,  his  loving  brother, 
Nicholas  Turbervile,  Esq." 

This  is  a  collection  of  ten  novels,  translated,  in  verse,  by 
George  Turberville.  They  are  all  from  Boccaccio  and  Ban- 
dello, except  the  second  one,  whose  source  has  not  yet  been 
discovered.  It  will  be  noticed  below  that  six  of  the  seven  tales 
taken  from  the  Decameron  belong  to  the  fourth  day,  "Nella 
quale,  sotto  il  reggimento  di  Filostrato,  si  ragiona  di  coloro,  li  cui 
amori  ebbero  infelice  fine.^^ 

No.  1.  Boccaccio,  v,  8.  Nastagio  degli  Onesti  amando  una 


METRICAL  ROMANCES 


235 


dei  Traversari,  spende  le  sue  ricchezze  senza  essere  amato, 
etc. 

This  tale  had  already  been  versified  by  Dr.  Christopher 
Tye.  See  A  Notable  Historye  of  Nastagio  and  Trauersari  (1569) ; 
also,  The  Forrest  of  Fancy  (1579). 

No.  2.? 

No.  3.  Boccaccio,  x,  4.  Messer  Gentil  de*  Carisendi  venuto 
da  Modena,  trae  delta  sepoltura  una  donna  amata  da  lui,  sepeU 
lita  per  morta:  etc.  See  Philocopo,  [1567]. 

No.  4.  Boccaccio,  iv,  9.  Messer  Guiglielmo  Rossiglione  da 
a  mangiare  alia  moglie  sua  il  cuore  di  messer  Guiglielmo  Guar- 
dastagno  ucciso  da  lui  et  amato  da  lei:  etc. 

This  terrible  fate  is  said  actually  to  have  befallen  the  trou- 
badour Guillem  de  Cabestaing,  or  Cabestan.  **Sa  derniere 
maltresse,  selon  Jehan  de  Nostre-Dame  {Les  vies  des  plus 
celebres  et  anciens  poets  provengauXy  1595),  fut  Tricline  Carbon- 
nel,  femme  du  seigneur  de  Seillan,  qui  jaloux  du  troubadour, 
dont  il  avait  fait  son  ecuyer,  le  tua,  lui  arracha  le  coeur  et  le 
fit  manger  a  sa  femme.  Tricline  dit  a  son  epoux,  *que,  puis- 
qu*elle  avait  mange  si  noble  viande,  elle  n'en  mangerait  jamais 
d'autres';  et  elle  se  laissa  mourir  de  faim  en  1213. 

"Suivant  Millot,  le  mari  furieux  contre  Cabestaing  se  nom- 
mait  Raymond  de  Castel-Roussillon,  et  son  epouse  Marguerite. 
D'apres  un  manuscrit  italien,  on  rapporte  que  les  parents  de 
celle-ci  et  du  troubadour,  ainsi  qu'un  grand  nombre  de  cheva- 
liers, a  la  tete  desquels  se  mit  Alphonse,  roi  d'Aragon,  demo- 
lirent  le  chateau  de  Raymond,  firent  de  pompeuses  funerailles 
aux  deux  amants  et  les  inhumerent  dans  le  meme  tombeau, 
qui  fut  place  dans  une  eglise  de  Perpignan.  Les  chevaliers 
du  Roussillon  et  du  Narbonnais  assistaient  chaque  annee  a 
un  service  solennel  fonde  par  le  roi  d'Aragon  pour  le  repos  de 
I'dme  de  Marguerite  et  de  Cabestaing."  (Michaud,  Bio- 
graphie  Universelle.) 

No.  5.  Bandello,  iii,  18.  Rosimonda  fa  ammazare  il  ma- 
ritOy  e  poi  se  stessa  ed  il  secondo  marito  avvelena,  accecata  da 
disordinato  appetito. 


236  ELIZABETHAN  TRANSLATIONS 


The  story  of  Rosamund  furnished  plots  for  two  Elizabethan 
plays  and  one  Victorian  drama,  — 

(1)  Alboviney  King  of  the  Lombards.  1629.  4to.  Sir  Wil- 
liam Davenant. 

(2)  The  Witch.  Printed  1788.  8vo.  Middleton. 

(3)  Rosamundy  Queen  of  the  Lombards:  a  Tragedy.  By 
Algernon  Charles  Swinburne.  1899. 

Painter's  Wife  Punished,  The  Palace  of  Pleasure^  i,  57,  is  a 
prose  translation  of  the  romance. 

No.  6.  The  King  of  Thunise  had  a  daughter  fair  e.  Boccaccio, 
IV,  4.  Gerbino  contra  la  fede  data  dal  re  Guiglielmo  suo  avolo  com- 
batte  una  nave  del  re  di  Tunisia  per  torre  una  sua  figliuolay  etc. 

No.  7.  Boccaccio,  iv,  5.  /  fratelli  delV  Isabetta  uccidon 
V  amante  di  lei:  egli  V  apparisce  in  sogno  e  mostrale  dove  sia 
sotterato.  Ella  occultamente  disotterra  la  testa  e  mettela  in  un 
testo  di  bassilico:  etc. 

Isabella's  story  appealed  to  Keats  in  his  unequal  but  beauti- 
ful and  pathetic  poem,  Isabella,  or  the  Pot  of  Basil  (1820) ;  and 
this  poem  inspired  Holman  Hunt  to  paint  "Isabella  and  the 
Pot  of  Basil"  (1868),  Walker  Gallery.  One  of  the  early  paint- 
ings of  John  Everett  Millais  has  the  same  subject;  it  is  called, 
"Isabella,"  or  sometimes  "Lorenzo  and  Isabella,"  and  is  in  the 
Liverpool  Gallery,  dated  1849.  Two  of  the  men  figures  are 
portraits  of  Dante  and  William  M.  Rossetti. 

No.  8.  Bandello,  iii,  5.  Bellissima  vendetta  fatta  da  gli 
Eliensi  contra  Aristotimo  crudelissimo  tiranno,  e  la  morte  di 
quello  con  altri  accidenti. 

No.  9.  Boccaccio,  iv,  7.  La  Simona  ama  Pasquino:  sono 
insieme  in  uno  orto:  Pasquino  si  frega  ai  denti  una  foglia  di 
salvia  e  muorsi:  etc. 

No.  10.  Boccaccio,  iv,  8.  Girolamo  ama  la  Salvestra:  va 
costretto  da'  prieghi  della  madre  a  Parigi:  torna,  e  truovala 
maritata:  etc. 

For  the  sources  of  these  tales,  except  the  first,  third,  fourth, 
fifth,  and  seventh,  I  am  indebted  to  E.  Koeppel:  Die  englischen 
Tasso-ubersetzungen  des  16  jahrhunderts. 


METRICAL  ROMANCES 


237 


Anglia.  Band  xiii.  Neue  Folge  Band  i  (1891). 
See  The  Florentine  History  (1595). 

170 

1609.  The  Italian  Taylor,  and  his  Boy.  By  Robert  Arminy 
Seruant  to  the  Kings  most  excellent  Maiestie.  Res  est  solliciti 
plena  timoris  amor. 

At  London  printed  for  T.  P.  1609.  4to.  Wood  cuts.  [1810.] 
4to.  British  Museum.  Owned  by  the  author.  Reprinted  in 
Occasional  Issues  of  Unique  or  Very  Rare  Books,  Vol.  xiv.  Alex- 
ander B.  Grosart.  1880.  Sm.  4to.  Peabody  Institute.  Balti- 
more. 

Dedicated,  "To  the  true  Noble  and  Right  Honorable  the 
Lord  Vicount  Haddinton;  And,  the  Noble  by  birth,  and  vertu- 
ous  by  education,  his  second  selfe,  the  Lady  Elizabeth  Fits- 
wa[lt]er,  his  Vicountesse  and  Wife :  Robert  Armin  Wisheth  con- 
tent in  this  life,  and  ioy  in  the  life  to  come." 

The  Italian  Taylor  and  his  Boy  is  a  poem  divided  into  nine 
cantos,  each  accompanied  by  a  quaint  woodcut,  and  an  argu- 
ment, and  written  in  alternate  rime. 

Armin's  prefatory  address.  Ad  lectorem  hie  et  uhiq;  S.  P.  D., 
begins,  — 

"Invisible  Reader,  I  present  thee  with  a  Poeme  from  the 
Italians;  bid  it  welcome  for  the  Countries  sake,  for  I  assure 
thee,  the  excellencie  of  that  nation  in  Poesie,  is  beyond  my  Pen 
to  publish :  but  be  it  as  it  is  worthy,  onely  I  wander  with  it  now 
in  a  strange  time  of  taxation,  wherein  every  pen  and  inck- 
horne  Boy  will  throw  up  his  Cap  at  the  homes  of  the  Moone 
in  censure,  although  his  wit  hang  there,  not  returning  unless 
monthly  in  the  wane:  such  is  our  ticklish  age,  and  the  itching 
braine  of  abondance." 

Its  source  is  Straparola's  Tredici  Notte  Piacerole,  viii,  5. 
How  Maestro  Lattantio  undertook  to  train  his  apprentice,  Dionigi, 
in  his  craft.  A  parallel  story  may  be  found  in  Grimm's  Kinder 
und  Hausmdrchen,  No.  68,  De  Gaudeif  un  sien  Meester  (The 
Rogue  and  his  Master) .  The  fable  is  beautifully  illustrated  in 


238  ELIZABETHAN  TRANSLATIONS 


W.  G.  Waters's,  The  Nights  of  Straparola,  Vol.  ii,  as  The  Ruby 
Ring. 

Robert  Armin,  born  1560-70  (?),  was  a  shareholder  and  actor 
of  the  Globe  and  Blackfriars  theatres.  In  the  hst  of  the  actors 
of  Shakspere's  plays,  printed  in  the  folio  of  1623,  his  name 
stands  sixth;  he  acted  in  The  London  Prodigal  (1605),  which 
contains  a  play  on  his  name,  and  in  Ben  Jonson's  The  Alche- 
mist (1610) ;  one  of  Tarlton^s  Jests  (earliest  extant  edition,  1611) 
relates,  *  How  Tarlton  made  Armin  his  adopted  son,  to  succeed 
him.*  His  own  allusion  to  Dogberry  in  his  Epistle  to  Viscount 
and  Lady  Haddington  would  seem  to  imply  that  he  succeeded 
to  that  part  after  William  Kemp,  the  original  Dogberry,  had 
quitted  the  Lord  Chamberlain's  Company,  —  "pardon,  I  pray 
you  the  boldnes  of  a  Begger  [i.e.,  an  *  armin']  who  hath  been 
writ  downe  for  an  Asse  in  his  time,  and  pleads  under  forma 
pauperis  in  it  still,  notwithstanding  his  Constableship  and 
Office." 

One  play  of  Robert  Armin's  has  survived.  The  History  of  the 
Two  Maids  of  Moreclacke  (1609).  The  Valiant  Welshman 
(printed,  1615)  is  attributed  to  him. 

171 

1639.  A  small  Treatise  betwixt  Arnalte  and  Lucenda,  en- 
tituledy  The  evill-intreated  lover ^  or  The  melancholy  knight.  Orig- 
inally written  in  the  Greeke  tongue  by  an  unknown  author; 
afterwards  translated  into  Spanish  [or  rather  written  by  D. 
Hernandez  de  San  Pedro] ;  after  that  for  the  excellency  thereof 
into  the  French  tongue  by  N.  H.;  next  by  B.  ilf  .[araffi]  into  the 
Thuscan,  and  now  turned  into  English  verse  by  I>.[eonard]  Z.[aw- 
rence]  a  well-wisher  to  the  Muses.  [Motto  from  Ovid,  De  Tris- 
tibus.] 

London.  Printed  by  J.  Okes  for  H.  Mosley,  and  are  to  be 
sold  at  his  shop,  at  the  Signe  of  the  Princes  Armes  in  Pauls 
Church-yard.  1639.  4to.  64  leaves.  British  Museum.  Bod- 
leian (2  copies). 

Lawrence  dedicates  his  translation,  in  prose,  "  To  his  more 


METRICAL  ROMANCES 


239 


than  Honour'd  Unckle  Adam  Lawrence,"  and,  in  verse,  "To 
the  Noble-minded  Reader,"  and  "To  all  Faire  Ladies,  Famous 
for  their  Vertues  .  .  .  but  most  especially  to  that  Paragon  of 
Perfection,  the  very  Non-Such  of  her  Sexe,  famous  by  the 
name  of  Mistris  M.  S."  He  does  not  mention,  in  his  detailed 
account  of  the  migrations  of  the  romance,  the  fact  that  it  had 
already  found  its  way  into  English  and  was  a  popular  tale. 
Claudius  Holyband's  earlier  prose  translation,  entitled  The 
pretie  and  wittie  Historie  of  Arnalte  and  Lucenda,  came  to  four 
editions  between  1575  and  1608. 

The  French  translator,  N.  H.,  is  Nicolas  de  Herberay, 
Seigneur  des  Essarts,  whose  title  runs,  — 

Petit  Traite  de  A.  et  Lucenda,  [by  D.  Hernandez  de  San 
Pedro,]  autresfois  traduit  de  langue  Espaignole  en  la  Frangoyse 
&  intitule  VAmat  mat  traite  de  s*amye:  par  le  Signeur  des 
Essars  N.  de  Herberay.  Paris.  1548.  16mo.  British  Museum. 
A  French  translation,  with  Bartolommeo  Maraffi's  Italian 
version,  is  dated  1570,  — 

Petit  traite  de  A.  et  Lucenda  [by  D.  Hernandez  de  San  Pe- 
dro]. Picciol  trattato  d'A.  &  di  Lucenda,  intitolato  d*Amante 
mal  trattato  dalla  sua  amorosa,  nuovamente  per  B.  Maraffi  .  .  . 
in  lingua  Thoscana  tradotto.  French  and  Italian.  Lyon.  1570. 
16mo.  British  Museum. 

Arnalte  and  Lucenda  is  a  tale  of  an  over-confident  lover  and 
a  false  friend.  The  poet  supposes  himself  lost  in  a  desert,  where 
after  much  wandering  he  comes  upon  a  stately  but  dismal 
mansion.  Arnalte,  the  melancholy  owner,  receives  his  guest 
courteously  and  entertains  him  with  the  story  of  his  life.  He 
was  a  native  of  Thebes,  who,  at  the  funeral  of  an  eminent  man 
of  that  city,  had  fallen  in  love  with  the  grief -stricken  daughter, 
Lucenda.  The  lady  is  described  as  a  paragon  of  beauty,  but 
unmoved  by  the  addresses  of  her  lover.  Arnalte,  however,  hopes 
of  success,  until  he  is  suddenly  overwhelmed  by  hearing  of  her 
marriage  to  his  friend,  Yerso,  the  confidant  of  his  love.  He 
immediately  challenges  Yerso  to  single  combat  before  the  king, 
and  kills  him.  Lucenda,  heart-broken,  retires  to  a  convent,  and 
Arnalte  to  the  desert. 


240  ELIZABETHAN  TRANSLATIONS 


For  a  brief  account  of  Lawrence's  poem,  see  the  Retrospec- 
tive Review  (1821),  Vol.  iv,  pp.  72-76. 

172 

1640.  The  Pleasant  and  sweet  History  of  patient  Grissell 
shewing  how  she  from  a  poore  man's  Daughter  came  to  be  a  great 
Lady  in  France y  being  a  pattern  for  all  vertuous  Women.  Trans- 
lated out  of  Italian. 

London.  Printed  by  E.  P.  for  John  Wright,  dwelHng  in 
Giltspurstreet  at  the  signe  of  the  bible.  1640.  8vo.  Black 
letter.  12  leaves.  Also,  [1630?]  Bvo.  With  a  woodcut  of  Queen 
Elizabeth,  crowned,  and  carrying  her  globe  and  sceptre.  Brit- 
ish Museum.  1842.  J.  P.  Collier,  for  the  Percy  Society. 

A  chapbook,  in  eleven  chapters,  the  first  two  and  the  last 
two  in  prose,  the  rest  with  some  verbal  and  literal  changes  the 
same  as  a  broadside  in  black  letter  called,  An  excellent  Ballad 
of  a  Noble  Marquess  and  Patient  Grissell.  To  the  tune  of  The 
Brides  Good-morrow.  (Reprinted  in  Ancient  Ballads,  1867.) 

The  tale  of  Patient  Grissell  is  in  the  Decameron,  the  last  tale 
of  the  last  day,  x,  10.  It  was  the  most  popular  tale  of  Boccac- 
cio's in  mediaeval  literature.  According  to  Legrand  d'Aussy, 
Fabliaux  ou  Contes,  upwards  of  twenty  translations  of  it  are 
to  be  found  in  the  French  prose  of  the  fourteenth  century,  in 
such  collections  as  the  Miroir  des  Dames,  or  the  Exemples  de 
bonnes  et  mauvaises  Femmes,  and  a  secular  mystery  in  French 
verse,  unique  of  its  kind,  Le  Mystere  de  Griselidis,  was  repre- 
sented in  Paris,  in  1395. 

Petrarch  was  so  pleased  with  the  story  that  he  learnt  it  by 
heart  to  repeat  to  his  friends  and  then  put  it  into  Latin  prose, 
as  De  obedientia  et  fide  uxorid  Mythologia  (1373).  During  this 
year  Chaucer  was  in  Italy,  on  his  Italian  embassy,  and  proba- 
bly met  Petrarch  at  Padua.  Very  likely  Petrarch  repeated 
the  tale  to  him  there,  and  gave  him  a  copy  of  the  Latin 
version,  which  he  translated  as  The  Clerk's  Tale  {Canterbury 
Tales). 

Since  Petrarch's  time,  in  Italy,  the  tale  of  Patient  Grissel  has 


METRICAL  ROMANCES 


241 


enjoyed  enduring  popularity.  One  of  Goldoni*s  comedies,  La 
Griselday  is  founded  on  the  subject,  and  the  homely  old  drama 
is  still  acted  in  marionette  theatres;  cheap  pictures  represent- 
ing its  different  scenes  often  decorate  the  cottage  walls  of 
Italian  peasants,  while  a  painting  attributed  to  Pinturicchio 
in  the  National  Gallery,  London,  presents  several  of  the  most 
dramatic  episodes. 

Following  Chaucer,  in  English,  Ralph  Radcliffe,  of  the  time 
of  Edward  VI,  wrote  a  Latin  comedy  on  the  subject,  De  pati- 
entia  Griselidis;  then  come  half  a  dozen  ballads  recorded  in  the 
Stationers*  Registers  and  elsewhere.  The  History  of  mehe  and 
pacyent  Gresell,  licensed  in  1565,  and  another  comedy.  Patient 
Grissil,  printed  in  1603,  and  written  by  Thomas  Dekker,  Henry 
Chettle,  and  William  Haughton.  The  quarto  tract,  in  prose, 
of  1607,  1619,  and  1674,  is  said  to  have  been  *  written  first  in 
French.'  Pepys  refers  to  the  *  puppet-play '  of  Patient  Grissel 
in  his  Diary y  August  30,  1667,  and  Butler,  in  HudibraSy  couples 
Grissel  with  Job  (Part  1,  c.  2,  772).  In  1855,  Edwin  Arnold 
wrote  Griselda,  a  tragedy;  and  in  1873,  Griselday  by  M.  E. 
Braddon,  was  played  at  the  Princess  Theatre,  London. 

In  1848,  Charles  West  Cope  painted  a  fresco  called  "Gris- 
elda"  for  the  House  of  Lords,  and  in  1852  he  painted  the 
"Marriage  of  Griselda." 

The  first  English  comedy  is  now  lost,  and  the  second  one  does 
not  amount  to  much  dramatically,  but  it  contains  one  of  the 
most  exquisite  Elizabethan  lyrics,  Dekker's 

Sweet  Content 
Art  thou  poor,  yet  hast  thou  golden  slumbers? 

O  sweet  content! 
Art  thou  rich,  yet  is  thy  mind  perplexed? 

O  punishment! 
Dost  thou  laugh  to  see  how  fools  are  vexed 
To  add  to  golden  numbers,  golden  numbers? 
O  sweet  content!  O  sweet,  O  sweet  content! 
Work  apace,  apace,  apace,  apace; 
Honest  labor  bears  a  lovely  face; 
Then  hey  nonny  nonny,  hey  nonny,  nonny! 


242 


ELIZABETHAN  TRANSLATIONS 


Canst  drink  the  waters  of  the  crisped  spring? 

O  sweet  content! 
Swimm'st  thou  in  wealth,  yet  sink'st  in  thine  own  tears? 

O  punishment! 
Then  he  that  patiently  want's  burden  bears 
No  burden  bears,  but  is  a  king,  a  king! 
O  sweet  content!  O  sweet,  O  sweet  content! 

Work  apace,  apace,  apace,  apace; 

Honest  labor  bears  a  lovely  face; 
Then  hey  nonny  nonny,  hey  nonny  nonny! 

See  The  Ancient^  True  and  Admirable  History  of  Patient 
Grisel  (1607). 


RELIGION  AND  THEOLOGY 


V 


RELIGION  AND  THEOLOGY 
173 

1547.  Five  Sermons,  translated  ovt  of  Italian  into  Englishe, 
Anno  Do  MDXLVIL 

London,  by  R.  C.  [probably  Robert  Crowley]  for  William 
BeddelL  1547.  Sm.  8vo. 

Translated  from  the  Prediche  of  Bernardino  Ochino,  of 
Siena  (1487-1564).  Ochino  was  an  Italian  Protestant,  whose 
restless  disposition  brought  him  many  vicissitudes  in  life. 
Having  become  an  Observantine  friar,  he  renounced  his  vows 
to  study  medicine,  but  not  finding  medicine  to  his  taste,  he  re- 
entered his  order,  only  to  leave  it  again  to  become  a  Capuchin. 
In  1538  he  was  elected  vicar-general  of  the  Capuchins,  and 
traveled  all  over  Italy  preaching,  the  people  everywhere  flock- 
ing to  hear  him.  About  1542  he  became  a  Protestant,  preach- 
ing that  doctrine  in  Geneva,  where  he  was  welcomed  by  Calvin, 
and  in  Augsburg.  Shortly  before  the  death  of  Henry  VIII,  he 
accepted  the  invitation  of  Archbishop  Cranmer  to  go  to  Eng- 
land, and  under  Edward  VI,  he  was  made  a  prebendary  of 
Canterbury  and  received  a  pension  from  the  king's  privy  purse. 
At  the  accession  of  Mary,  he  became  the  pastor  of  the  Italian 
Protestant  church  in  Zurich,  through  the  friendly  offices  of 
Henri  Bullinger.  He  was  exiled  from  Switzerland,  in  1563,  on 
account  of  his  Dialogue  of  Polygamy,  dialogue  twenty-one  of 
his  Dialogi  XXX,  and  spent  the  last  year  of  his  life  in  wander- 
ing from  place  to  place;  after  seeing  three  of  his  four  children 
die  of  the  plague  at  Pinczow,  Poland,  he  himself  died  at  Schla- 
kau,  Moravia,  towards  the  end  of  1564. 

Bernardino  Ochino  was  the  intimate  friend  of  Bembo, 
Tolommei,  Pietro  Martire,  and  Vittoria  Colonna.  Besides  sev- 


246  ELIZABETHAN  TRANSLATIONS 


eral  volumes  of  Predichcy  his  most  famous  work  is  the  Tragedy, 
translated  by  Bishop  Ponet  (1549).  See  Dialogue  of  Polygamy 
(1657). 

174 

1548.  Sermons  of  the  ryght  famous  dd  excellent  clerke  Master 
Bernardine  Ochine,  etc. 

A.  Scoloker:  Ippeswich.  1548.  8vo.  Black  letter.  Without 
pagination.  British  Museum. 

Dedicated  to  Edward  Seymour,  Duke  of  Somerset,  by 
"Rychard  Argentyne,"  the  translator. 

This  is  another  translation  from  the  popular  Prediehe  of 
Bernardino  Ochino;  they  are  controversial  tracts,  rather  than 
sermons,  and  were  written  to  explain  and  vindicate  his  change 
of  religion.  The  collection  contains  sermons  1  to  6  of  the  later 
edition,  entitled  Certayne  Sermons,  etc.  (1550?),  translated  in 
part  by  Lady  Bacon. 

175 

1549.  A  tragoedie  or  Dialoge  of  the  unjuste  usurped  Primacie 
of  the  Bishop  of  Rome,  and  of  all  the  just  aholishyng  of  the  same, 
made  hy  Master  Barnardine  Ochine,  an  Italian,  and  translated 
out  of  Latine  into  Englishe  hy  Master  John  Ponet  Doctor  of 
Diuinitie,  never  before  printed  in  any  language. 

Anno  Do.  1549.  Imprynted  for  Gualter  Lynne:  London. 
4to.  Black  letter.  Library  of  Edward  VI.  Royal  Library. 
British  Museum  (2  copies). 

Dedicated  to  King  Edward  VI,  by  Bernardinus  Ochinus 
Senensis. 

The  Tragedy  hy  Bernardino  Ochino.  Reprinted  from  Bishop 
Ponefs  Translation  out  of  Ochino^s  Latin  Manuscript  in  1549. 
Edited,  with  Introduction  and  Notes,  hy  C.  E.  Plumptre.  Lon- 
don. 1899. 

The  parties  that  doe  speake  in  thys  dialoge  are  these,  — 

i.  Lucifer  and  Beelzebub. 

ii.  Boniface  the  third,  &  Doctour  Sapience  secretary  to 
the  Emperour. 


RELIGION  AND  THEOLOGY  247 


iii.  The  people  of  Rome.  The  Churche  of  Rome, 
iiii.  The  Pope,  and  men's  iudgement  and  the  people  of  Rome. 
V.  Thomas  Massuccius  the  master  of  the  horse.  Lepidus 
the  pope's  chamberlain. 

vi.  Lucifer  and  Beelzebub. 

vii.  Christ  and  Michaell  and  Gabriell  archangelis. 

viii.  Ejng  Henry  viii.  and  Papiste,  and  Thomas  Arch- 
bishoppe  of  Canterbury. 

ix.  King  Edward  vi.  and  the  Counseill. 

"This  remarkable  performance,  originally  written  in  Latin, 
is  extant  only  in  the  translation  of  Bishop  Ponet,  a  splendid 
specimen  of  nervous  English.  The  conception  is  highly  dra- 
matic; the  form  is  that  of  a  series  of  dialogues.  Lucifer,  en- 
raged at  the  spread  of  Christ's  kingdom,  convokes  the  fiends 
in  council,  and  resolves  to  set  up  the  pope  as  Antichrist.  The 
state,  represented  by  the  emperor  Phocas,  is  persuaded  to 
connive  at  the  pope's  assumption  of  spiritual  authority;  the 
other  churches  are  intimidated  into  acquiescence;  Lucifer's 
projects  seem  fully  accomplished,  when  Heaven  raises  up 
Henry  VIII  and  his  son  for  their  overthrow.  The  conception 
bears  a  remarkable  resemblance  to  that  of  Paradise  Lost;  and 
it  is  nearly  certain  that  Milton,  whose  sympathies  ^dth  the 
Italian  Reformation  were  so  strong,  must  have  been  acquainted 
with  it."  (Richard  Garnett.) 

John  Ponet,  or  Poynet  (1514(?)-1556),  was  not  only  a  great 
preacher,  but  a  man  of  learning,  knowing  mathematics,  as- 
tronomy, German  and  ItaHan,  besides  being  a  good  classical 
scholar  and  theologian.  The  Tragedy^  translated  from  Ochino's 
manuscript,  brought  him  to  the  notice  of  the  Protector  Somer- 
set, who  is  mentioned  in  the  dedication,  and  Ponet  was  made 
successively  Bishop  of  Rochester  and  of  Winchester.  He  was 
somewhat  unscrupulous,  and  is  thought  to  have  voiced  the 
opinion  given  by  himself,  Cranmer,  and  Ridley,  when  consulted 
about  the  Princess  Mary's  hearing  mass,  *  that  to  give  license 
to  sin  was  sin;  nevertheless,  they  thought  the  king  might  suffer 
or  wink  at  it  for  a  time.*  (Strype,  Memorials,  ii,  1,  45L) 


248  ELIZABETHAN  TRANSLATIONS 


Upon  the  accession  of  Queen  Mary,  Bishop  Ponet  was  de- 
prived, and  Stephen  Gardiner  reinstated  in  the  bishopric  of 
Winchester.  Stow  asserts,  and  Froude  after  him  {History  of 
England,  Vol.  vi.  Chap.  31),  that  Ponet  was  out  in  Sir  Thomas 
Wyatt's  rebelHon,  in  1554.  Eventually  he  found  his  way  to 
Peter  Martyr,  at  Strasburg,  where  he  seems  to  have  lived  com- 
fortably enough.  "What  is  exile,"  he  wrote  to  BuUinger  at 
Zurich,  "a  thing  painful  only  in  imagination,  provided  you 
have  wherewith  to  subsist." 

At  his  death,  in  1556,  his  library  came  into  the  possession  of 
Sir  Anthony  Cooke. 

176 

[1550(?)]  A  discourse  or  traictise  of  Peter  Martyr  Vermill  a 
Floretine  .  .  .  wherein  he  openly  declared  his  .  .  .  iudgemente 
concernynge  the  Sacrament  of  the  Lordes  supper,  etc,  [Trans- 
lated from  the  Latin  by  Nicholas  Udall.] 

London :  R.  Stoughton.  [Under  Vermigli  the  British  Museum 
Catalogue  gives  the  date  [1550?],  but  under  Udall  [1558?].]  4to. 
Black  letter. 

Pietro  Martire  Vermigli  (1500-1562)  was  of  a  noble  Floren- 
tine family.  He  entered  the  order  of  Augustine  friars,  and  soon 
became  distinguished  for  his  learning  and  piety.  Having  turned 
Protestant,  he  was  invited  to  England  in  1547  by  Archbishop 
Cranmer  and  the  Duke  of  Somerset  to  assist  in  the  English 
reformation.  Cranmer  made  him  a  professor  at  Oxford,  and 
one  of  eight  commissioners  charged  with  drawing  up  a  new 
code  of  ecclesiastical  laws  to  take  the  place  of  the  Canon  Law 
of  the  Catholic  Church. 

When  Queen  Mary  came  to  the  throne,  Peter  Martyr  asked 
leave  to  return  to  the  Continent,  and  it  is  one  of  the  generous 
acts  of  Gardiner,  Bishop  of  Winchester,  that  he  supplied  the 
Itahan  the  means  to  get  back  to  Strasburg.  Here  he  resumed 
his  post  as  professor  of  theology,  subsequently  removing  to 
Zurich  to  teach  the  same  subject. 

Peter  Martyr  wrote  commentaries  on  some  of  the  principal 


RELIGION  AND  THEOLOGY  249 


books  of  the  Old  and  the  New  Testament,  and  several  treatises 
on  dogmatic  theology,  and  at  one  time  ranked  next  to  Calvin 
as  a  Protestant  writer.  He  was  more  learned  than  Calvin,  of 
moderate  counsels,  and  wished  to  unite  the  various  sects  broken 
off  from  the  Catholic  Church,  for  which  he  always  retained  an 
affection.  He  was  married  twice. 

177 

[1550(?)]  Certayne  Sermons  of  the  ryghte  famous  and  excel- 
lente  clerk  Master  B.  Ochine^  .  .  .  now  .  ,  .  an  exyle  in  thys  lyfe 
for  the  faithful  testimony  of  Jesus  Christe.  Faythfully  trans- 
lated into  Englysche. 

J.  Day:  London.  [1550.^*.]  8vo.  Black  letter.  British  Mu- 
seum. 

This  is  another  collection  of  sermons  translated  from  Ochino's 
Prediche;  the  first  six,  by  Richard  Argentine,  had  already  ap- 
peared in  Sermons  of  the  ryght  famous  ad  excellent  clerke  Master 
Bernardine  Ochine  (1548).  The  last  fourteen  sermons  were 
translated  by  Anne  Cooke,  second  daughter  of  Sir  Anthony 
Cooke,  afterwards  second  wife  to  Sir  Nicholas  Bacon  and 
mother  of  Sir  Francis  Bacon.  Fuller  says  of  Sir  Anthony 
Cooke,  —  "He  was  one  of  the  governors  to  King  Edward  the 
Sixth  when  prince;  and  is  charactered  by  Master  Camden, 
vir  antiqud  severitate.  He  observeth  him  also  to  be  happy  in  his 
daughters,  learned  above  their  sex  in  Greek  and  Latin :  namely, 
1.  Mildred,  married  unto  William  Cecil,  lord  treasurer  of  Eng- 
land; 2.  Anne,  married  unto  Nicholas  Bacon,  lord  chancellor 
of  England;  3.  Katherine,  married  unto  Henry  Eallegrew, 
Knight;  4.  Elizabeth,  married  unto  Thomas  Hobby,  Knight, 
[and,  second,  to  John,  Lord  Russell,  son  of  Francis  Russell, 
second  Earl  of  Bedford];  5.  [Margaret],  married  unto  Ralph 
Rowlett,  Knight.  Indeed,  they  were  all  most  eminent  scholars, 
(the  honour  of  their  own,  and  the  shame  of  our  sex)  both  in 
prose  and  poetry.'*  (Thomas  Fuller,  The  History  of  the  Worthies 
of  England,  Vol.  i,  p.  509,  ed.  P.  A.  Nuttall,  London,  1840.) 

Anne  Cooke  is  said  to  have  been  able  to  read  Latin,  Greek, 


250  ELIZABETHAN  TRANSLATIONS 


Italian,  and  French,  "  as  her  native  tongue."  She  was  a  fervent 
Protestant,  inclined  to  Puritanism,  and  translated  Ochino's 
Prediche  before  her  marriage  to  Sir  Nicholas  Bacon.  Her  most 
interesting  work  is  a  translation  from  the  Latin  of  Bishop 
Jewel's  Apologia  Ecclesice  Anglicance  (1562),  entitled  Apologie, 
or  aunswer  in  defence  of  the  Church  of  England  (1562  and  1564). 
Both  editions  appeared  without  the  author's  name,  but  the 
second  one  contains  a  prefatory  address  to  Lady  Bacon  as  the 
translator,  by  Archbishop  Parker.  It  seems  that  she  had  sub- 
mitted the  manuscript  to  him,  accompanied  by  a  letter  written 
in  Greek.  He  returned  it  printed,  "  knowing  that  he  had  hereby 
done  for  the  best,  and  in  the  point  used  a  reasonable  policy; 
that  is,  to  prevent  such  excuses  as  her  modesty  would  have 
made  in  stay  of  publishing  it." 

The  translation  is  referred  to  in  A  Declaration  of  the  True 
Causes  of  the  great  Troubles,  presupposed  to  be  intended  against 
the  realme  of  England  (1592),  p.  12, 

"The  apologie  of  this  Church  was  written  in  Latin,  &  trans- 
lated into  English  by  A[nne]  B[acon]  with  the  comendation 
of  M[ildred]  C[ecil],  which  twaine  were  sisters,  &  wives  unto 
Cecill  and  Bacon,  and  gave  their  assistance  and  helping  hands 
in  the  plot  and  fortification  of  this  newe  erected  synagog." 
Queen  Elizabeth  thought  so  highly  of  the  Apologie  that  she 
ordered  a  copy  of  it  to  be  chained  in  every  parish  church 
in  England.  (G.  P.  Fisher,  History  of  the  Christian  Church, 
p.  374.)  Lady  Anne  Bacon's  ^Apology  of  the  Church'  is  still 
printed  and  circulated  by  the  Society  for  Promoting  Christian 
Knowledge. 

Theodore  de  Beze,  who  knew  of  Lady  Bacon's  learning  and 
piety  from  her  son  Anthony,  dedicated  his  Meditations  to  her. 

Many  of  Lady  Bacon's  letters  to  her  sons  Anthony  and 
Francis  are  extant,  and  some  of  them  have  been  printed  in 
Spedding's  An  Account  of  the  Life  and  Times  of  Francis  Bacon. 
They  are  thickly  interspersed  with  quotations  from  Greek  and 
Latin  writers,  but  the  English  is  vigorous,  and  the  picture  of 
family  relations  presented  is  highly  interesting.  The  mother 


RELIGION  AND  THEOLOGY  251 


never  relinquished  her  authority  over  her  sons,  even  as  grown 
men,  and  one  of  them  Lord  Chancellor  of  England.  She  took 
the  liveliest  interest  in  their  affairs,  and  reproved  them  sharply, 
if  they  neglected  to  make  known  to  her  what  they  were  doing. 
The  young  men  were  both  dutiful  sons,  and  the  second  clause 
of  Sir  Francis  Bacon's  will  reads,  —  "  For  my  burial,  I  desire 
it  may  be  in  St.  Michael's  church,  near  St.  Alban's  —  there 
my  mother  was  buried.'* 

178 

[1550?]  Fouretene  Sermons,  concerning  the  Predestinacion 
and  Eleccion  of  God :  very  expediente  to  the  settynge  forth  of  hys 
Glorye  among  his  Creatures.  Translated  out  of  Italian  [of  Ber- 
nardino Ochino]  into  oure  natyve  Tounge  by  A.  C.  [Anne  Cooke.] 

London,  by  John  Day  and  W.  Seres.  [1550?.]  Sm.  8vo. 
Black  letter.  Edited  by  G.  B.  British  Museum. 

Dedicated  by  A.  C.  to  her  mother,  the  Lady  F.  [Anne  Fitz- 
william  Cooke.] 

These  Fouretene  Sermons  are  numbers  12  to  25  of  the  col- 
lection, entitled  Certayne  Sermons  [1550?]. 

179 

1550.  The  Alcaron  of  the  Barefote  Friers,  that  is  to  say,  an 
heape  or  numhre  of  the  blasphemous  and  trifling  doctrines  of  the 
wounded  I  dole  Saint  Frances  [Francis  [Bernardoni],  of  Assisi, 
[Saint,]  tahen  out  of  the  boke  of  his  rules,  called  in  latin  Liber 
Conformitatum  [by  Bartholomaeus  Albizzi];  the  selections 
made  by  E.  Alberus]. 

R.  G.[rafton],  excudebat  [London],  1550.  8vo.  Black  letter. 
British  Museum  (2  copies).  Also,  London,  1603.  8vo.  British 
Museum. 

This  work  seems  to  have  been  translated  from  the  French; 
a  French  original  in  the  British  Museum  is  of  later  date. 

Alcoran  des  Cordeliers,  tant  en  Latin  qu^en  Frangois;  c*est 
a  dire,  Recueil  des  plus  notables  bourdes  &  blasphemes  .  .  .  de 
ceux  qui  ont  ose  comparer  Sainct  Frangois  d  Jesus  Christ:  tire 


252  ELIZABETHAN  TRANSLATIONS 


[by  Erasmus  Alberus]  du  grand  livre  des  Conformitez,  iadis  com- 
pose par  frere  Barthelemi  de  Pise.  .  .  .  [Translated  by  Conrad 
Badius.]  Parti  en  deux  livres.  Nouvellement  y  a  este  adioustee  la 
figure  d'un  arbre  cotenat  par  branches  la  conference  de  S.  Fran- 
Qois  a  Jesus  Christ,  Le  tout  de  nouveau  reveu  &  corrige.  Lat, 
and  Fr.  2  pts. 

G.  de  Laimerie.  Geneve.  1578.  12mo.  British  Museum. 
Also,  Amsterdam.  1734.  12mo.  British  Museum. 

At  the  time  of  the  Reformation  Erasmus  Alberus  wrote  a 
refutation  of  the  Alcoran,  with  a  preface  by  Luther.  It  is  en- 
titled, Der  Barfiisser  Miinche  Eulenspiegel  und  Alcoran  (1542). 
[2d  edition.]  A  Latin  paraphrase  of  this  is  Alcoranus  Francis- 
canorum;  id  est,  Blasphemiarum  et  nugarum  Lerna,  de  stigma- 
tisato  Idolo,  quod  Franciscum  vocant,  ex  Libro  Conformitatum 
[of  Bartholomaeus  Albizzi,  of  Pisa.]  Translated  and  abridged 
from  the  Eulenspiegel  und  Alcoran  of  E.  Alberus.  [With  the 
prefaces  of  M.  Luther  and  E.  Alberus.] 

Daventraie.  1651.  12mo.  British  Museum. 

The  Liber  Conformitatum  Sancti  Francisci  cum  Christo  was 
presented  by  the  author,  Bartolommeo  Albizzi  da  Pisa,  to 
the  chapter  of  his  order  assembled  at  Assisi,  in  1399,  and  the 
brothers  were  so  pleased  with  it  that  they  gave  him  the  habit 
worn  by  St.  Francis.  The  first  printed  edition  appeared  at 
Venice,  folio,  without  date,  and  is  one  of  the  rarest  incunabula. 
The  editions  of  1480  and  1484  have  the  title, 

Li  fioretti  di  San  Francisco  assimilati  alia  vita  ed  alia  pas- 
sione  di  Nostro  Signore. 

180 

1550.  An  epistle  unto  the  right  honorable  and  christian  Prince, 
the  Duke  of  Somerset  written  unto  him  in  Latin,  anone  after  hys 
deliverance  out  of  trouble,  by  the  famous  clearke  Doctour  Peter 
Martyr  and  translated  into  Englysche  by  r.[homas]  Norton. 

Anno  a  verbo  incarnato  M.D.L.  Regni  Edwardi  sexti  Hi. 
[Quotation  from  Psalm  120.] 

Colophon:  Imprynted  at  Londo  for  Gualter  Lynne,  dwell- 


RELIGION  AND  THEOLOGY  253 


ynge  on  Somers  Kaye,  by  Byllynges  gate.  In  the  yeare  of  our 
Lorde  M.D.L.  And  they  be  to  be  solde  in  Paules  church  yarde, 
nexte  to  the  great  Schole,  at  the  sygne  of  the  sprede  Egle. 
Cum  privilegio.  ,  .  .  8vo.  Black  letter.  20  leaves.  British 
Museum. 

The  epistle  was  written  by  Peter  Martyr  to  Edward  Sey- 
mour, Duke  of  Somerset,  upon  his  release  from  the  Tower, 
in  1550.  Thomas  Norton  was  only  eighteen  years  old  when 
he  published  the  translation,  which  is  the  more  interesting 
from  the  fact  that  the  original  letter  is  not  extant.  Norton 
was  at  the  time  amanuensis  to  the  Duke  of  Somerset  and  un- 
dertook the  translation  at  his  desire. 

The  rest  of  Norton's  literary  work  is  curiously  divided 
between  legal  papers,  controversial  Puritan  tracts,  twenty- 
eight  metrical  Psalms  which  he  contributed  to  The  whole 
Booke  of  Psalmes  collected  into  English  metre  by  T.  Stemhold, 
J.  HopkinSy  and  others,  etc.  (1561),  and  the  first  three  acts  of 
Gorhoduc  (1565),  the  earliest  English  tragedy.  He  was  a  Cal- 
vinistic  barrister,  and  married  (1)  Margery,  third  daughter 
of  Archbishop  Cranmer,  and  (2)  Alice  Cranmer,  his  first  wife's 
cousin.  In  1571  he  was  made  the  first  Remembrancer  of  the 
City  of  London,  and  as  such  was  elected  to  a  seat  in  the  third 
ParHament  of  Elizabeth. 

181 

1550.  A  notable  and  marveilous  epistle  of  the  famous  Doc- 
tour  Mathewe  Gribalde,  professor  of  law  in  the  universitie  of 
Padua;  cdcerning  the  terrible  iudgement  of  God,  upon  hym  that 
for  feare  of  men  denieth  Christ,  and  the  knowne  veritie:  with  a 
Preface  of  Doctor  Caluine.  Translated  out  of  Latin  intoo  Eng- 
lish by  E.  A. 

Worcester.  [Printed  by  John  Osmen.]  1550.  [1570(?)  in 
the  British  Museum  Catalogue.]  8vo. 

The  work  was  republished  at  London,  by  Henry  Denham, 
for  Wilham  Norton,  without  date:  —  "Now  newely  imprinted, 
with  a  godly  and  wholesome  preseruative  against  desperation. 


254  ELIZABETHAN  TRANSLATIONS 


at  all  tymes  necessarie  for  the  sonle:  chiefly  to  be  used  when  the 
deuill  dooeth  assaulte  us  moste  fiercely,  and  death  approach- 
eth  nighest." 

The  original  is  a  Latin  epistle  by  Matteo  Gribaldi,  called 
Mopha,  entitled,  — 

Francisci  Spierae,  qui  quod  susceptam  semel  EvangelicoB  veri- 
talis  professionem  abnegasset  damnassetque,  in  horrendam  incidit 
desperationem  historian  a  quatuor  summis  viris  [C.  S.  Curio, 
M.  Gribaldus,  Henricus  [Scrimger]  Scotus,  and  S.  Gelous], 
summa  fide  conscripta:  cum  prcefationibus  Caelii  S.  C.  et  J.  Col- 
vini  &  P.  Vergerii  Apologia  .  .  .  accessit  quoque  M.  Borrhaiy  de 
usu  quern  Spierae  turn  exemplum  turn  doctrina  afferat  judicium. 

[Geneva?  1550?]  8vo.  British  Museum, 

The  translator  was  Edward  Aglionby,  recorder  of  War- 
wick, as  appears  from  an  acrostic  contained  in  "  An  Epigram  of 
the  terrible  example  of  one  Francis  Spera  an  Italian,  of  whom 
this  book  is  compiled."  The  translation  has  been  attributed  to 
Edmund  Allen,  who  died  bishop-elect  of  Rochester,  in  1559. 

Francesco  Spiera,  or  Spera,  a  jurisconsult  of  Padua,  became 
a  Protestant,  and  subsequently  retracted  that  faith  publicly 
before  the  Holy  OflSce  at  Venice.  Returning  to  Padua,  he 
died  shortly  afterwards  in  despair.  His  story  seems  to  have 
made  a  profound  impression  on  the  Protestant  world  of  the 
time,  and  for  long  after.  It  is  the  subject  of  an  Elizabethan 
comedy,  called  The  Conflict  of  Conscience  (1581),  by  Nathaniel 
Woodes,  administer  of  Norwich;  "in  The  Conflict  of  Conscience" 
says  John  Churton  Collins,  "  the  struggle  between  the  old  faith 
and  the  new  is  depicted  with  an  energy  which  is  almost  tragic 
in  its  intensity." 

Stationers*  Register  B,  for  June  15,  1587,  records,  — 

A  ballad  of  master  Ffrauncis  an  Italian  a  Doctor  of  Lawe  who 
denied  the  lord  J esu^. 

I  find  also,  — 

A  Relation  of  the  Fearefull  Estate  of  Francis  Spira^  in  the 
yeare  154-8.  [By  N.  B.,  i.e.,  Nathaniel  Bacon.] 

Printed  by  I.  L.  for  P.  Stephens,  and  C.  Meredith,  London, 


RELIGION  AND  THEOLOGY  255 


1638.  12mo.  British  Museum.  Also,  1640.  12mo.  British 
Museum.  1665. 

The  first  edition  of  the  Relation  came  out  anonymously, 
and  it  was  not  until  the  edition  of  1665  that  Nathaniel  Bacon's 
name  appeared  on  the  title-page,  when  he  is  said  to  have 
'compiled'  the  book.  A  Welsh  translation  was  issued  in  1820, 
and  an  edition  of  1845  is  styled,  "An  Everlasting  Proof  of  the 
Falsehood  of  Popery.''  The  British  Museum  contains  also 
duodecimo  editions  of  the  Relation,  dated  1678,  1681,  1683, 
1688,  1784,  and  1815,  in  all  eleven  editions. 

A  French  tragedy  on  the  theme,  by  J.  D.  C.  G.,  is  entitled, 
Frangois  Spera,  ou  le  Desespoir. 

"About  this  time  I  did  Hght  on  a  dreadful  story  of  that  mis- 
erable mortal,  Francis  Spira;  a  book  that  was  to  my  troubled 
spirit  as  salt  when  rubbed  into  a  fresh  wound:  every  sentence 
in  that  book,  every  groan  of  that  man,  with  all  the  rest  of  his 
actions  in  his  dolours,  as  his  tears,  his  prayers,  his  gnashing 
of  teeth,  his  wringing  of  hands,  his  twisting,  and  languishing, 
and  pining  away  under  that  mighty  hand  of  God  that  was 
upon  him,  were  as  knives  and  daggers  to  my  soul;  especially 
that  sentence  of  his  was  frightful  to  me,  —  *  Man  knows  the 
beginning  of  sin,  but  who  bounds  the  issues  thereof?'  Then 
would  the  former  sentence,  as  the  conclusion  of  all,  fall  like  an 
hot  thunderbolt  again  upon  my  conscience:  *For  you  know 
how  that  afterwards,  when  he  would  have  inherited  the  bless- 
ing, he  was  rejected;  for  he  found  no  place  of  repentance, 
though  he  sought  it  carefully  with  tears.'  "  (John  Bunyan, 
Grace  Abounding  to  the  Chief  of  Sinners.  The  Works  of  that 
Eminent  Servant  of  Christ,  John  Bunyan,  Minister  of  the  Gospel, 
and  formerly  Pastor  of  a  Congregation  in  Bedford.  Vol.  i,  p.  49. 
New  Haven.  1831.) 

182 

1564.  Most  fruitfull  &  learned  Comentaries  of .  .  .  Peter 
Martir  Vermil  [upon  the  Book  of  Judges]  .  .  .  with  a  very 
profitable  tract  of  the  matter  and  places^  etc,  [With  the  text.] 


256  ELIZABETHAN  TRANSLATIONS 


J.  Day,  London,  1564.  Folio.  Black  letter.  British  Museum. 
Dedicated  by  the  printer,  John  Daye,  to  the  "Earle  of 
Lecester." 

A  translation  of  In  lihrum  Judicum  .  .  .  P.M.  Vermillii  .  .  . 
commentarii,  etc. 

[Zurich.  1563.  FoHo.]  1571.  Folio.  British  Museum. 

Dedicated  to  Sir  Anthony  Cooke,  father  of  Lady  Bacon. 

Peter  Martyr  lectured  on  the  Book  of  Judges,  and  the  ethics 
of  Aristotle,  at  Strasburg,  before  a  kind  of  college  of  the  Eng- 
lish exiles  of  Mary's  reign,  who  gathered  around  him  there. 
They  were  Edmund  Grindal,  afterwards  Archbishop  of  Can- 
terbury, John  Jewel,  afterwards  Bishop  of  Salisbury  and  author 
of  the  Apologia  EcclesicB  Anglicanw,  Alexander  Nowell,  after- 
wards Dean  of  St.  Paul's,  John  Ponet,  the  deprived  Bishop 
of  Winchester,  Sir  John  Cheke,  Sir  Anthony  Cooke,  Sir  Thomas 
Wroth,  and  others. 

183 

[1566.]  Pasquine  in  a  Traunce.  A  Christian  and  learned 
Dialogue  {contayning  wonderfull  and  most  strange  newes  out  of 
Heaueut  Purgatorie,  and  Hell)  Wherein  hesydes  Christes  truth 
flaynely  set  forth,  ye  shall  also  finde  a  numbre  of  pleasaunt  hys- 
tories,  discouering  all  the  crafty  conueyaunces  of  Antechrist. 
Wherunto  are  added  certayne  Questions  then  put  forth  by  Pas- 
quine, to  haue  bene  disputed  in  the  Councell  of  Trent.  Turned 
but  lately  out  of  Italian  into  this  tongue,  by  W.  P.[histon?] 
8eene  [and]  allowed  according  to  the  order  appointed  in  the 
Queenes  Maiesties  Iniunctions.  Luke  19.  Verily  I  tell  you,  that 
if  these  should  holde  their  peace,  the  stones  would  cry. 

Imprinted  at  London  by  Wylliam  Seres  dwelling  at  the 
Weast  ende  of  Paules  at  the  signe  of  the  Hedgehogge.  [1566] 
[1550?  British  Museum.]  4to.  Black  letter.  British  Museum 
(2  copies).  Also,  no  date,  W.  Seres,  and  1584, 4to,  Thomas  Este. 

This  is  a  translation  of  Pasquillus  Ecstaticus,  una  cum  aliis 
etiama  liquot  Sanctis  pariter  &  lepidis  Dialogis,  quibus  proB- 
cipua  religionis  nostrce  Capita  elegantissime  Explicantur. 


RELIGION  AND  THEOLOGY  257 


[Sine  loco  aut  anno.]  Small  8vo. 

This  book  was  written  by  Cselius  Secundus  Curio,  and 
was  printed  at  Basle  about  1550.  It  contains  an  account  of 
Curio's  escape  from  prison  in  Turin,  where  he  was  confined 
because  of  his  Evangelical  opinions. 

184 

1568.  The  Fearfull  Fansies  of  the  Florentine  Couper:  Written 
in  Toscane,  by  John  Baptista  Gelliy  one  of  the  free  Studie  of 
Florence,  and  for  recreation  translated  into  English  by  W.  Bar- 
ker. Pensoso  d '  altrui.  Sene  &  allowed  according  to  the  order 
appointed. 

Imprinted  at  London  by  Henry  Bynneman.  Anno  1568. 
12mo.  138  leaves.  British  Museum.  Also,  1599.  12mo.  Brit- 
ish Museum.  1702.  8vo. 

In  an  address  to  the  reader,  the  translator  says,  "the  talke 
that  olde  lust  the  Couper  hadde  with  himself,  when  he  coulde 
not  slepe  did  minister  matter  to  the  maker  of  this  presente 
boke,  who  by  other  occasion  hath  made  diuers  other  to  his 
comendatio  in  the  Toscane  tong.  .  .  .  John  Baptista  Gellie,  for 
so  is  the  tailer  called,  and  for  his  wisedom  chief  of  the  vulgar 
tmiuersitie  of  Florence,  when  I  was  ther,  did  publish  these 
communications  of  lust  the  Couper  and  his  Soule,  gathered 
by  one  Sir  Byndo  his  nephew  and  a  notarie." 

The  work  is  divided  into  ten  dialogues  or  "Reasonings," 
called  in  the  original  /  Dialogi  del  GellOy  but  reprinted  in  1548 
under  the  title,  /  Capricd  del  Bottaio. 

Giambattista  Gelli  was  the  author  of  CirceSy  translated  into 
English  by  Henry  Iden.  See  Circes  (1557),  Epitaphia  et  In- 
scriptiones  lugubres  (1566),  and  The  Nobility  of  Women  (1559), 
first  printed  in  1904-05. 

185 

1568.  Most  learned  and  fruitfull  Commentaries  of  D.  P. 
Martir  Vermilius  .  .  .  upon  the  Epistle  of  S.  Paul  to  the  Romanes; 
wherin  are  .  .  .  entreated  all  ,  ,  ,  chief  e  common  places  of  religion 


258  ELIZABETHAN  TRANSLATIONS 


touched  in  the  same  Epistle.  With  a  table  of  all  the  common  placeSy 
and  expositions  upon  divers  places  of  the  scriptures,  and  .  ,  .  an 
Index,  .  .  Trdslated  out  of  Latine  into  Englishe  by  H.  B.  [Henri 
Bullinger.]  [With  the  text.] 

J.  Daye,  London,  1568.  FoHo.  Black  letter.  British  Mu- 
seum (2  copies). 

A  translation  of  In  epistolam  S.  Pauli  Apostoli  ad  Romanos 
P,  M.  Vermilii  .  .  .  commentarii,  etc.,  which  was  dedicated  to 
Sir  Anthony  Cooke. 

[Basle,  1558.  Folio.]  1570.  Folio.  British  Museum, 

186 

1569.  Most  Godly  Prayers  compiled  out  of  David's  Psalmes 
by  D.  Peter  Martyr.  [Edited  by  J.  Simler,  and]  translated  out 
of  Latin  .  .  .  by  Charles  Glemhan. 

W.  Seres,  London,  1569.  8vo.  Black  letter.  British  Museum. 

A  translation  of  Preces  sacrce  ex  Psalmis  Davidis  desumptce 
per  D.  P.  M.  F.,  etc. 

Lyon.  1564.  16mo.  British  Museum. 

187 

1576.  The  Droomme  of  Doomes  Day.  Wherein  the  frailties 
and  miseries  of  mans  lyfe,  are  lyuely  portrayed,  and  learnedly  set 
forth.  Diuided  as  appeareth  in  the  Page  next  following.  Trans- 
lated and  collected  by  George  Gascoigne,  Esquyer.  Tam  Marti, 
quam  Mer curio. 

Imprinted  at  London  for  Gabriell  Cawood:  dwelling  in 
Paules  Churchyard,  at  the  Signe  of  the  holy  Ghost.  1576.  4to. 
Black  letter.  Pp.  276.  British  Museum  (2  copies) ;  1586.  4to. 
Black  letter.  British  Museum.  Herbert  mentions  a  third  edi- 
tion, without  date. 

Dedicated  to  Francis,  second  Earl  of  Bedford,  to  whom 
Gascoigne  gives  the  following  account  of  the  book,  — 

"And  thereupon,  not  many  monethes  since,  tossyng  and 
retossyng  in  my  small  lybrarie,  amongest  some  bookes  which 
had  not  often  felte  my  fyngers  endes  in  xv  years  before,  I 


RELIGION  AND  THEOLOGY  259 


channced  to  light  upon  a  small  volumne  skarce  comely  covered, 
and  wel  worse  handled.  For,  to  tell  a  truth  unto  your  Honor, 
it  was  written  in  an  old  kynd  of  caracters,  and  so  torne,  as  it 
neyther  had  the  beginning  perspicuous  nor  the  end  perfect: 
so  that  I  cannot  certaynly  say,  who  shuld  be  the  Author  of 
the  same.  But  as  things  of  meane  shewe  outwardely,  are  not 
alwayes  to  bee  rejected,  even  so  in  thys  olde  torne  paum- 
phlette  I  found  sundry e  thinges,  as  mee  thought,  wrytten  with 
suche  zeale  and  affection,  and  tendynge  so  dyrectly  unto  the 
reformation  of  maners,  that  I  dyd  not  onelye  myselfe  take 
great  pleasure  in  perticuler  reading  thereof,  but  thought  them 
profitable  to  be  published  for  a  generall  commoditie:  and 
thereupon,  have  translated  and  collected  into  some  order  these 
sundry  parcells  of  the  same.  The  which  (as  well  bicause  the 
Aucthor  is  to  me  unknowen,  as  also  bicause  the  oryginal  copies 
had  no  peculyar  tytle,  but  cheefly  bicause  they  do  all  tend 
zealously  to  an  admonicion  whereby  we  may  every  man  walke 
warely  and  decently  in  his  vocation)  I  have  thought  meete  to 
entytle  The  Droomme  of  Doomes  days.  Thinking  my  selfe  as- 
sured, that  any  souldier  which  meaneth  to  march  under  the 
flagge  of  God's  favour,  may  by  sounde  of  this  Droomme  be 
awaked,  and  called  to  his  watch  and  warde  with  right  suf- 
ficient summons." 

The  Droomme  of  Doomes  Day  is  divided  into  three  parts, 
which  are  thus  set  forth  on  the  back  of  the  title,  — 
I.  The  View  of  worldly  Vanities.  Exhorting  us  to  contempne 

all  pompeSy  pleasures,  delightes,  and  vanities  of  this  lyfe. 
II.  The  Shame  of  Sinne,  Displaying  and  laying  open  the  huge 
greatnesse  and  enormities  of  the  same,  by  sundrye  good 
examples  and  comparisons, 
III.  The  Needels  Eye.  Wherein  wee  are  taught  the  right  rules 
of  a  true  Christian  life,  and  the  straight  passage  unto  ever- 
lasting felicitie. 

Heereunto  is  added  a  private  Letter;  the  which  doth  teach 
remedies  against  the  bitternesse  of  Death.  (Brydges,  Restituta, 
Vol.  IV,  pp.  299-307.) 


260  ELIZABETHAN  TRANSLATIONS 


Part  I,  The  View  of  Worldly  VanitieSy  is  a  translation  of 
De  contemptu  mundi  sive  de  miseria  humance  conditionis,  by 
Lotario  Conti,  Pope  Innocent  HI. 

The  earliest  edition  recorded  in  the  British  Museum  is  as- 
signed, doubtfully,  to  1470.  An  Elizabethan  edition  came  out 
in  Louvain  (1563.  4to).  It  is  curious  that  there  should  have 
been  another  translation  of  this  same  work  in  the  same  year. 

See  The  Mirror  of  Mans  lyfe  .  .  .  Englished  hy  Henry  Kerton 
(1576). 

188 

1576.  The  Mirror  of  Mans  lyfe:  Plainely  describing,  what 
weahe  moulde  we  are  made  of:  what  miseries  we  are  subject  unto: 
howe  uncertaine  this  life  is:  and  what  shal  be  oure  end,  Eng- 
lished by  ff.[enry]  ^L.[erton]. 

London.  H.  Bynneman.  1576.  8vo.  Black  letter.  British 
Museum,  1580,  1586.  8vo.  (Allibone.)  With  the  Speculum 
Humanum,  sl  short  poem  in  stanzas  of  eleven  lines,  by  Stephen 
Gosson,  at  the  end. 

Dedicated  to  Anne  Talbot  Herbert,  Countess  of  Pembroke. 

Another  translation  of  the  popular  mediaeval  work  on  the 
contempt  of  the  work  written  by  that  ambitious  prelate,  Lo- 
tario Conti,  Pope  Innocent  III. 

See  George  Gascoigne's  The  Droomme  of  Doomes  Day  (1576). 

189 

1576.  An  Epistle  for  the  godly  and  christian  Bringing  up  of 
Christian  Mennes  Children,  or  Youth,  englished  by  W.  L.  P. 
of  Saint  Swithens,  by  London  Stone,  28  June,  1576,  16mo. 
(Lowndes.) 

This  is  a  translation  from  Cselius  Secundus  Curio,  which  I 
find  catalogued  in  the  British  Museum,  as  follows :  — 

C.  S,  Curionis  Christianoe  Religionis  institutio  ,  .  .  Accessit 
epistola  ,  .  .  de  pueris  sancte  christianeque  educandis, 

[Basle,]  1549.  8vo.  MS.  Notes.  Partially  mutilated. 


RELIGION  AND  THEOLOGY  £61 


190 

1576.  A  brief e  and  most  excellent  Exposition  of  the  XII.  Arti- 
cles of  our  Fayth,  translated  by  T.  P. 

London.  1576.  16mo. :  n.  d.  16mo.  (Lowndes.) 

A  translation  of  Peter  Martyr's  Una  semplice  dichiaratione 
sojpra  gli  XII  Articoli  delta  Feda  Christiana, 

Basilea.  1544.  4to.  British  Museum, 

191 

[1580?]  A  brief e  Treatise,  Concerning  the  use  and  abuse  of 
Dauncing.  Collected  oute  of  the  learned  workes  of  .  .  .  Peter 
Martyr,  by  Maister  j?o6[ert]  Massonius;  and  translated  by  I. 
K.  [or  T.  K.,  according  to  the  dedicatory  epistle.] 

London,  by  John  Jugge.  [1580.^]  8vo.  Black  letter.  Brit- 
ish Museum. 

192 

1580.  Certaine  Godly  and  very  profitable  Sermx)ns  of  Faithe 
Hope  and  Charitie;  first  set  foorth  by  Master  Bernardine  Oc- 
chine  .  .  .  and  now  lately  collected  and  translated  out  of  the  Italian 
tongue  into  the  English  by  William  Phiston  of  London,  student, 

London.  Tho.  East.  1580.  4to.  Black  letter.  100  leaves. 

Dedicated  to  Edmund  Grindal,  Archbishop  of  Canterbury. 
A  collection  of  thirty-eight  sermons,  or  rather  sections,  nine- 
teen on  Faith,  eight  on  Hope,  and  eleven  on  Charity. 

193 

1583.  The  Common  Places  of  .  .  .  Doctor  Peter  Martyr, 
diuided  into  four  e  principall  parts:  with  a  large  addition  of  manie 
theologicall  and  necessarie  discourses,  some  never  extant  before. 
Translated  and  partly  gathered  by  yl.[nthony]  Marten,  etc. 
{An  oration  wherein  is  set  foorth  the  life  and  death  of  ...  P. 
Martyr  Vermillius  .  .  .  by  J.  Simlerus.) 

London.  1583.  Folio.  6  pts.  Black  letter.  British  Museum 
(3  copies). 


262  ELIZABETHAN  TRANSLATIONS 


Dedicated  to  Queen  Elizabeth. 

A  translation  of  Peter  Martyr's  Lod  communes  D.  P.  Mar- 
tyris  Vermilii  ex  variis  ipsius  authoris  scriptis  in  unum  lihrum 
collecti  &  in  quattuor  Classes  distributi,  etc.  [Edited  by  R. 
Massonius,  with  the  preface  of  R.  Walther,  and  an  oration 
upon  the  life  of  the  author  by  Josias  Simler.] 

Zurich.  1563.  FoUo. 

[1576.  Folio  (Lowndes).]  London.  T.  VautroUerius,  Lon- 
dini.  1583.  Folio.  British  Museum.  Amsterdam  and  Frank- 
fort. 1656.  Folio.  British  Museum. 

Anthony  Martin  was  gentleman  sewer  of  the  Queen's 
chamber,  Keeper  of  the  Royal  Library  within  the  palace  of 
Westminster,  and  cupbearer  to  the  Queen. 

194 

1584.  The  contempte  of  the  world  and  the  vanitie  thereof y 
written  by  the  Reverend  F.  D.  de  Stella.  .  .  .  And  of  late  trans- 
lated  out  of  Italian  into  Englishe  [by  G.  C]  etc. 

[Douayf]  1584.  12mo.  British  Museum.  Also,  S.  Omers, 
1622.  8vo.  British  Museum. 

The  original  of  this  is  a  work  by  the  Spanish  mystic,  Diego 
de  Estella,  confessor  to  Cardinal  de  Granvelle  and  preacher  to 
Philip  II,  entitled,  — 

Primera  {-tercera)  parte  del  libro  de  la  vanitad  del  mundo. 

Salamanca.  1576.  8vo.  British  Museum. 

The  first  edition  appeared  in  Salamanca,  in  1574.  8vo.  I 
have  not  met  with  the  Italian  translation. 

195 

1585.  A  Letter  lately  written  from  Rome,  by  an  Italian  gentle- 
man to  a  friende  of  his  in  Lyons  in  France.  Wherein  is  declared 
the  state  of  Rome:  the  suddaine  death  &  solemne  buriall  of  Pope 
Gregory  the  thirteenth.  The  election  of  the  newe  Pope  [Sixtus  V] 
and  the  race  of  life  this  newe  Pope  ranne  before  hee  was  ad- 
uanced.  .  .  .  Newely  translated  out  of  Italian  into  English  by 
Z[ohn]  F.[lorio]. 


RELIGION  AND  THEOLOGY  263 


Imprinted  by  John  Charlewood.  London,  1585.  8vo. 
Black  letter.  Without  pagination.  British  Museum. 

The  crest  and  coronet  of  the  Earl  of  Bridgewater  are  stamped 
on  the  covers  of  the  copy  here  cited. 

196 

[1600?]  Instructions  and  Advertisements ,  how  to  meditate 
the  Misteries  of  the  Rosarie  of  the  most  Holy  Virgin  Mary. 
Written  in  Italian  [from  the  Latin  of  Gaspar  de  Loarte]  .  .  . 
and  newly  translated  into  English  [by  John  Fenn].  (Litanice 
Deiparce  Virginis  .  .  .  quce  in  alma  domo  Lauretana  .  ,  .  de- 
cantari  solent.) 

[Rouen  ?  1600.^^]  Svo.  British  Museum. 

[Another  edition.]  Whereunto  is  annexed  brief  Meditations 
for  the  seven  Evenings  and  Mornings  of  the  Weeke. 

Cardin  Hamillon,  Rouen.  1613.  12mo.  British  Museum. 

The  original  work,  by  the  Spanish  Jesuit  theologian.  Gas- 
par  de  Loarte,  is  Meditationes  de  Rosario  B.  Virginis.  Venice, 
1573. 

See  The  Life  of  the  blessed  Virgin  St.  Catherine  of  Sienna, 
1608,  and  A  Treatise  of  Tribulation  [before  1615]. 

197 

1606.  A  full  and  satisfactorie  answer  to  the  late  unadvised 
Bully  thundered  by  Pope  Paul  the  Fift,  against  the  renowned 
State  of  Venice:  being  modestly  entitled  by  the  learned  author. 
Considerations  upon  the  censure  of  Pope  Paul  the  Fift  [against 
the  Republic  of  Venice].  .  .  .  Translated  out  of  Italian  [of 
Pietro  Sarpi,  Fra  Paolo  Servita]. 

Printed  for  J.  Bill.  London.  1606.  4to.  British  Museum. 

I  take  this  to  be  a  translation  of  Father  Paul's  Trattato  delV 
Interdetto  di  Venezia.  Venice.  1606.  4to. 

On  April  17,  1606,  Pope  Paul  V  pronounced  sentence  of 
excommunication  against  the  doge,  senate  and  government 
of  Venice.  The  Venetian  clergy  were  enjoined  to  publish  the 
letter  of  interdict  before  their  assembled  congregations,  and  to 


264  ELIZABETHAN  TRANSLATIONS 


fix  it  on  the  church  doors.  The  Government  of  Venice  took 
the  ground  that  the  Pope's  bull  was  in  itself  null  and  void, 
and  on  May  6,  1606,  the  Doge,  Leonardo  Donato,  issued  two 
short  proclamations,  making  known  to  the  citizens  and  clergy 
the  resolution  of  the  Republic  to  maintain  the  sovereign  au- 
thority, "which  acknowledges  no  other  superior  in  worldly 
things  save  God  alone."  The  clergy  did  not  hesitate;  they 
obeyed  the  Republic  and  not  a  copy  of  the  brief  was  posted. 
(Ranke,  History  of  the  Popes,  Bk.  vi,  pp.  494-95,  of  Sarah 
Austin's  translation.  Philadelphia,  1841.) 

For  an  account  of  the  dispute,  see  The  History  of  the  Quarrels 
of  Pope  Paul  V  with  the  State  of  Venice  (1626) . 

198 

1606.  A  Declaration  of  the  Variance  betweene  the  Pope,  and 
the  Segniory  of  Venice,  with  the  proceedings  and  present  state 
thereof.  Whereunto  is  annexed  a  Defence  of  the  Venetians,  writ- 
ten by  an  Italian  doctor  of  Divinitie  [i.e.,  Fulgenzio  Manfredi?] 
against  the  Censure  of  Paulus  Quintus  [of  17  April,  1606],  proov- 
ing  the  nullitie  thereof  by  Holy  Scriptures,  etc. 

1606.  4to.  British  Museum  (2  copies). 

Fulgenzio  Manfredi  was  a  Franciscan  who,  during  the  inter- 
dict, preached  against  the  Pope  and  the  Jesuits.  After  the 
Venetians  had  made  peace  with  Rome,  he  was  pensioned  by 
the  State,  and  received  for  his  own  Order  of  St.  Francis  a  grant 
of  the  House  of  the  expelled  Jesuits.  But,  says  Bedell,  "it 
was  sodenly  noised  y*  he  was  departed  "  (to  Rome.)  Sir  Henry 
Wotton  writes,  April  23,  1610,  that  he  was  drawn  "from  hence 
long  since  under  safe  conduct."  In  Rome,  Fra  Fulgenzio  was 
accused  of  correspondence  with  King  James  I,  through  the 
English  Ambassador,  and  was  burnt  at  the  stake  in  the 
Campo  di  Fiora.  Sir  Henry  Wotton,  under  date  October  29, 
1610,  strenuously  denies  any  dealings  with  the  friar,  and  speaks 
of  his  execution  as  recent. 

See  The  History  of  the  Quarrels  of  Pope  Paul  V  with  the  State 
of  Venice  {162d). 


RELIGION  AND  THEOLOGY  265 


199 

1606.  Meditations  uppon  the  Passion  of  our  Lord  Jesus 
Christ.  .  .  .  Newlie  translated  out  of  Italian  [of  Fulvio  An- 
drozzi]  into  English. 

[Douay  ?]  1606.  12mo.  British  Museum. 

200 

1608.  A  true  copie  of  the  Sentence  of  the  high  Councell  of 
tenne  Judges  [Consiglio  de'  Dieci]  in  the  State  of  Venice,  against 
/2.[odolfo]  Pomay  M.  Viti,  .  .  .  y4.[lessandro]  Parrasioy  John 
of  Florence  [Giovanni  da  Firenze]  .  .  .  and  Pasquall  of  Bitonto; 
who  .  .  .  attempted  a  .  .  .  murder  upon  the  person  of  .  .  .  Paolo 
Servile.  .  .  .  Translated  out  of  Italian.  A  Proclamation  made 
for  the  assecuration  of  the  person  of  .  .  .  Paolo  Servile,  .  .  .  in 
execution  of  a  Decree  accorded,  in  the  .  .  .  Councell  of  the  Prega- 
die  upon  the  21.  of  Oct.  1607.  —  A  Decree  made  in  the  .  .  .  Coun- 
cell of  Tenne,  1607,  the  9.  of  Januarie,  etc.  [With  two  Latin 
Poems,  In  Innocentiam,  by  O.  Mavinus,  and  In  Meretricem 
dolosam.] 

H.  Lownes,  for  S.  Macham,  London,  1608.  4to.  British 
Museum. 

On  the  5th  of  October,  1607,  at  five  in  the  afternoon,  Fra 
Paolo  was  returning  from  the  Ducal  Palace,  accompanied  by 
Fra  Marino,  his  servant,  and  Alessandro  Malipiero,  an  old 
patrician.  The  party  had  reached  the  Ponte  della  Fonda- 
menta,  near  the  Servite  Convent,  when  a  band  of  bravos 
rushed  upon  them.  One  seized  Fra  Marino,  another  Mali- 
piero, while  a  group  occupied  the  bridge,  keeping  it  against 
all  comers.  The  assassin  who  had  singled  out  Fra  Paolo  rained 
upon  him  fifteen  or  twenty  blows  of  his  poniard,  aiming  at 
his  head.  His  cap  and  the  collar  of  his  dress  were  pierced 
through  and  through,  but  only  three  of  the  stabs  took  effect, 
two  in  the  neck  and  the  last,  through  the  right  ear  out  through 
the  right  cheek  bone.  Fra  Paolo  fell  as  if  dead,  with  the 
weapon  sticking  in  the  wound. 


266  ELIZABETHAN  TRANSLATIONS 


The  assassins  were  Rodolfo  Poma,  a  Venetian;  Alessandro 
Parrasio,  of  Ancona;  Michael  Viti,  a  priest  of  Bergamo;  Pas- 
quale,  of  Bitonto;  John,  of  Florence;  Hector,  of  Ancona,  and 
others  unknown,  all,  except  perhaps  Viti,  common  and  hired 
bravos.  After  the  attempted  assassination,  Poma  and  his 
confederates  fled  into  the  Papal  States.  At  Ancona  he  re- 
ceived from  Franceschi,  a  Venetian  priest,  a  letter  of  credit 
for  one  thousand  ducats,  payable  by  Scalamonte,  the  Pope's 
agent. 

In  Rome  the  bravos  found  an  asylum  for  more  than  a  year 
in  the  palace  of  Cardinal  Colonna,  although  the  Cardinal 
Inquisitor  was  all  the  while  assuring  the  Venetian  Legation 
that  some  one  of  them  would  surely  be  apprehended.  When 
public  clamor  became  too  pronounced,  Pope  Paul  V  ordered 
his  Nuncio  at  Naples  to  provide  for  the  assassins,  at  the  same 
time  begging  the  intercession  of  Henry  IV  of  France,  to  in- 
duce the  Venetians  to  suspend  the  inquiry.  This  the  Vene- 
tians had  no  intention  of  doing,  and  it  was  a  large  body  of 
assassins  plotting  with  a  still  larger  body  of  enemies  of  Fra 
Paolo.  Finally,  toward  the  end  of  the  year  1608,  the  serious 
indiscretions  of  these  people  induced  the  Roman  Curia  to 
change  its  policy.  Poma,  Parrasio,  and  Viti  were  thrown  into 
the  dungeons  of  Civita  Vecchia,  where  they  perished,  and 
Franceschi  disappeared. 

While  Fra  Paolo  lay  at  death's  door,  the  Council  of  Ten, 
the  Senate,  and  the  people  vied  with  one  another  in  testifying 
to  their  respect  and  admiration  for  him.  The  people  sur- 
rounded the  convent,  broke  out  into  imprecations  against 
Rome,  and  attempted  to  burn  the  palace  of  the  Bishop  of 
Rimini.  The  Republic  called  in  the  best  surgeons  at  its  own 
expense,  and  after  Fra  Paolo's  recovery,  created  Fabrizio 
d'  Acquapendente,  his  chief  physician,  a  Cavaliere  di  San 
Marco,  presenting  him  with  a  rich  gold  chain  and  a  silver  cup 
of  forty  ducats'  weight;  an  additional  pension  was  offered  to 
Fra  Paolo,  who  refused  it.  He  accepted  two  privileges  from 
the  Republic.  One  was  full  permission  to  explore  the  Vene- 


RELIGION  AND  THEOLOGY  267 


tian  archives;  the  other  was  a  little  doorway,  cut  through  the 
garden  wall  of  his  monastery,  by  which  he  could  get  to  his 
gondola  without  passing  through  the  narrow  and  tortuous 
path  he  had  formerly  used  on  his  daily  journey  to  the  public 
offices.  Andrew  D.  White  visited  what  remains  of  the  mon- 
astery, in  April,  1902,  and  found  the  little  door  as  useful  as 
when  it  was  made.  {Seven  Great  Statesmen.  Sarpi.  Andrew  D. 
White.  1910.) 

The  poniard  with  which  the  wound  was  inflicted  was  affixed 
to  a  crucifix  in  the  church  of  the  Servites,  with  the  inscription 
Deo  Filio  Liberatori. 

201 

1608.  Newes  from  Italy,  of  a  second  Moses,  or  the  life  of 
Galeacius  Caracciolus  the  nolle  Marquesse  of  Vico.  Containing 
the  story  of  his  admirable  conuersion  from  popery,  and  his  for- 
saking of  a  rich  Marquessedome  for  the  Gospels  sake.  Written 
first  in  Italian  [by  Niccolo  Balbani],  thence  translated  into  latin 
by  Reuerend  Beza,  and  for  the  benefit  of  our  people  put  into  Eng- 
lish: and  now  published  by  W.  Crashaw  Batcheler  in  Diuinitie, 
and  Preacher  at  the  Temple.  In  memoria  sempiterna  erit  lustus. 
Psalme  112.  The  iust  shall  be  had  in  euerlasting  remembrance. 

Printed  by  H.  B.  for  Richard  Moore,  and  are  to  be  sold 
at  his  shop  in  Saint  Dunstans  Churchyard  in  Fleete  streete. 
1608.  4to.  82  pp.  British  Museum.  Also,  1612.  4to.  British 
Museum.  1635.  4to.  British  Museum.  1655.  8vo.  1662. 
8vo.  The  last  three  editions  are  called  The  Italian  Convert. 

Dedicated  to  Edmund  Lord  Sheffield,  the  Lady  Dowglasse 
his  mother,  and  Lady  Ursula  his  wife;  — 

"Give  me  leaue  (right  honourable),  to  put  you  all  in  one 
Epistle,  whom  God  and  nature  haue  linked  so  well  to-gether: 
Nature  in  the  neerest  bond,  and  God  in  the  holiest  religion. 
For  a  simple  new-yeares  gift,  I  present  you  with  as  strange 
a  story,  as  (out  of  holy  stories)  was  euer  heard.  Will  your  Hon- 
oures  haue  the  whole  in  brief e  afore  it  be  laid  downe  at  large 
Thus  it  is. 


268  ELIZABETHAN  TRANSLATIONS 


"  Galeacius  Caracciolus,  sonne  and  heire  apparent  to  Calan- 
tonius,  Marquesse  of  Vicum  in  Naples,  bred,  borne  [Jan. 
1517]  and  brought  up  in  Popery,  a  Courtier  to  the  Emperour 
Charles  the  fift,  nephew  to  the  Pope  Paul  the  fourth,  being 
married  to  the  Duke  of  Nucernes  daughter,  and  hauing  by 
her  six  goodly  children;  at  a  sermon  of  Peter  Martyrs  was 
first  touched,  after  by  reading  Scripture  and  other  good 
meanes,  was  fully  conuerted;  laboured  with  his  Lady,  but 
could  not  perswade  her.  Therefore  that  he  might  enioy  Christ, 
and  serue  him  with  a  quiet  conscience,  he  left  the  lands,  linings, 
and  honoures  of  a  Marquesdom,  the  comforts  of  his  Lady  and 
children,  the  pleasures  of  Italy,  his  credit  with  the  Emperour, 
his  kinred  with  the  Pope,  and  forsaking  all  for  the  loue  of 
Jesus  Christ,  came  to  Geneua,  and  there  lined  a  poore  and 
meane,  but  yet  an  honourable  and  holy  life  for  fortie  yeares. 
And  though  his  father,  his  Lady,  his  kinseman;  yea,  the  Em- 
perour and  the  Pope  did  all  they  could  to  reclaime  him,  yet 
continued  he  constant  to  the  end,  and  lined  and  died  the 
blessed  seruant  of  God,  about  fifteene  yeares  agoe,  leaning 
behind  him  a  rare  example  to  all  ages." 

The  work  is  divided  into  thirty  chapters,  and  the  incidents 
of  the  life  of  the  Marquis  of  Vico  are  principally  those  which 
connect  him  with  Peter  Martyr  and  Calvin.  See  Censura 
Liter aria^  Vol.  x,  pp.  105-07. 

William  Crashaw  was  the  father  of  Richard  Crashaw,  the 
poet. 

Galeazzo  Caracciolo,  Marquis  of  Vico,  1517-86,  was  ruling 
elder  of  the  Italian  Protestant  Church,  which  he  and  John 
Calvin  had  organized  in  Geneva  in  1551.  Niccolo  Balbani, 
of  Lucca,  was  elected  minister  of  this  church  in  1561.  His  life 
of  Caracciolo  appeared  in  the  year  after  the  marquis's  death, 
and  is  based  on  personal  knowledge.  The  title  reads,  — 

Storia  delta  vita  de  Galeazzo  Caracciolo,  chiamato  il  Sig.  Mar- 
chese.  Geneva.  1587. 

Crashaw  seems  to  have  founded  on  the  Latin  translation  of 
Theodore  de  Beze,  — 


RELIGION  AND  THEOLOGY  269 


Galeadi  Caraccioli,  Vici  Marchionis  Vita:  Qua  constanticB 
vercB  Christiance  exemplar  rerum  proponitur.  1596. 

There  is  a  French  translation  of  1587,  and  another,  by  Teis- 
sier de  L'Estang,  in  1681. 

Caracciolo  was  not  a  model  husband  and  father.  When  his 
wife  refused  to  become  a  Protestant  and  to  follow  him  into 
exile,  he  appealed  to  Calvin  about  getting  a  divorce.  Calvin 
dodged  the  question  by  advising  him  to  consult  Peter  Martyr 
and  other  Protestant  ministers.  They  assented  to  the  dissolu- 
tion of  the  Roman  Catholic  marriage,  and  Caracciolo  united 
himself  to  a  French  Protestant,  Anne  Fremery.  Of  this  lady, 
M.  Young  {Life  and  Times  of  Aonio  Palearioy  ii,  447)  says: 
"She  possessed  neither  rank,  beauty,  nor  riches.  It  was  not 
an  union  of  love,  but  an  affectionate  friendship  between 
persons  of  different  sexes  who  desired  to  help  each  other  in 
their  way  to  heaven." 

The  mother  of  Caracciolo's  six  children,  Vittoria,  daughter 
of  the  Duke  de  Nocera,  entreated  him  to  return  to  his  family 
twenty-five  years  after  he  had  abandoned  them  in  Naples. 

202 

1608.  The  History  of  our  B.  Lady  of  Loreto.  Traslated  out 
of  Latyn  [by  T.  P.,  i.e.,  Thomas  Price,  from  Orazio  Torsellino], 
etc. 

[Saint-Omer.]  1608.  12mo.  British  Museum. 

I  take  this  to  be  a  translation  from  Torsellino's  Lauretance 
histories,  lib.  v.   Rome.  1597.  4to. 

Loreto,  or  Loretto,  is  a  small  town  in  the  Marches  of  An- 
cona,  which  contains  the  celebrated  shrine,  the  Santa  Casa, 
reputed  to  be  the  veritable  house  of  the  Virgin,  transported 
by  angels  from  Nazareth,  out  of  the  hands  of  the  Saracens, 
and  miraculously  set  down  in  Italy,  December  10,  1294. 
Over  it  Bramante  built  the  Chiesa  delta  Santa  Casa,  a  beauti- 
ful late-pointed  church  of  1465,  with  a  Renaissance  marble 
fagade.  The  Santa  Casa  within  is  a  cottage  built  of  brick, 
forty-four  feet  long,  twenty-nine  and  a  half  feet  wide,  and 


270  ELIZABETHAN  TRANSLATIONS 


thirty-six  feet  high;  the  interior  reveals  the  rough  masonry 
of  the  supposed  original,  but  the  white  marble  casing,  put  on 
in  columns,  niches,  and  panels,  is  sculptured  over  by  Sanso- 
vino  with  scenes  from  the  life  of  the  Virgin.  Within  the 
rude  stone  cottage  there  is  a  Madonna  and  Child,  a  wonderful 
black  image  carved,  it  is  said,  by  St.  Luke  from  cedar  of 
Lebanon.  Church  and  chapel  together  form  one  of  the  most 
beautiful  productions  of  Renaissance  art.  Richard  Crashaw 
was  a  canon  of  the  Holy  House  of  Loreto  for  a  short  time,  and 
was  buried  in  the  Lady  Chapel  there. 

203 

[1608?]  The  Life  of  the  blessed  Virgin  St.  Catherine  of  Sienna. 
Translated  from  the  Italian  of  Dr,  Caterinus  Senensis  [by  John 
Fenn]. 

s.  1.  [1608].  8vo.  (1609,  Lowndes.)  Reprinted  with  a  pref- 
ace by  Father  Aylward,  of  the  order  of  Friar-Preachers 
(London,  1867,  8vo). 
The  original  of  this  translation  evidently  is  — 
Vita  miracolosa  delta  seraphica  S.  Catherina  da  Siena,  com- 
posta  in  latino  del  heato  Padre  Frate  Raymondo  da  Capoua  gia 
Maestro  generate  del  ordine  de  Predicatori.  Et  tradotta  in  lingua 
vulgare  dot  reuerendo  Padre  Frate  Ambrosio  Catherino  da  Siena 
del  medesimo  ordine:  con  agiunte  dilcune  cose  pertinete,  at  psete 
stato  delta  Chiesa  notabili  et  utili  ad  ogni  fedel  Christiano:  nova 
mente  in  questa  seconda  impressione  agiota,  corretta  et  emen- 
data  del  prefato  Frate  Ambrosio  et  hystoriata  con  le  sue  figure. 
Co  una  cazone  bellissima  i  laude  delta  Sea,  cbposta  p  Messer 
Fortunato  de  Vecchi  cittadino  senese  et  alcun  altre  p  altri  suo 
deuoti. 

Siapata  nella  magnifica  citta  di  Siene  p  Simone  di  Niccolo, 
ad  instantia  di  lacomo  Antonio  Cataneo  Libraro  senese.  Adi 
1  di  Setembre,  nelli  ant.  .  .  . 

1524.  4to.  (First  edition,  Siena,  same  year.) 

Pierre  Larousse  {Grand  Dictionnaire  Universel  du  XIX^, 
Siecle)  says,  —  **La  vie  de  sainte  Catherine  a  StS  Scrite  par  le 


RELIGION  AND  THEOLOGY  271 


P.  Thomas  delta  Fonte,  et  traduite  en  latin  par  Raymond  des 
VigneSy  general  des  dominicains,  confesseur  de  Catherine.**  The 
material  for  the  Life  exists  in  the  celebrated  treatise  of  St. 
Catherine  which  Father  Raimondo  describes  as  "a  dialogue 
between  a  soul,  which  asked  four  questions  of  the  Lord,  and 
the  same  Lord,  who  made  answer  and  gave  instruction  in 
many  most  useful  truths."  The  dialogue  is  entitled,  ''The  Book 
of  Divine  Doctrine^  given  in  person  by  God  the  Father,  speaking 
to  the  mind  of  the  most  glorious  and  holy  virgin  Catherine  of 
Siena,  and  written  down  as  she  dictated  it  in  the  vulgar  tongue, 
she  being  the  while  entranced  and  actually  hearing  what  God 
spoke  to  her.**  The  work  is  declared  to  have  been  dictated  by 
the  saint  in  her  father's  house  in  Siena,  a  little  before  she  went 
to  Rome,  and  to  have  been  completed  on  October  13,  1378. 
The  dialogue  has  been  divided  into  five  parts  of  which  the 
first  four  exist  only  in  manuscript;  the  fifth  part  is  not  extant 
in  the  original,  but  only  in  the  Latin  version  of  Father  Rai- 
mondo, from  which  the  published  Italian  version  has  been 
retranslated. 

204 

[1609.]  Flos  Sanctorum.  The  Lives  of  the  Saints.  Written  in 
Spanish  by  . .  .  ^.[Ifonso  de]  Villegas.  .  .  .  Translated  out  of 
Italian  into  English,  and  compared  with  the  Spanish.  By  W. 
&  E.[dward]  iiC.[insman]  ^.[rothers].  Tome  I  [of  three  tomes 
intended]. 

[1609.]  4to.  British  Museum.  1615.  8vo.  British  Museum. 

An  Appendix  of  the  Saints  lately  Canonized  and  Beatifyed 
by  Paule  the  fift  and  Gregorie  the  Fifteenth.  [Lives,  translated 
and  abridged  by  E.  K.] 

H.  Taylor.  Doioay.  1624.  12mo.  British  Museum. 

One  of  the  Lives  of  this  Appendix  is.  The  Life  of  S.  Charles 
Borromeus,  translated  into  English  [by  Edward  Kinsman,  from 
the  Italian  of  Giovanni  Pietro  Giussani.]  {Vita  di  S.  Carlo 
Borromeo,  arcivescovo  di  Milano.  Roma.  1610.  4to.  British 
Museum.) 


272  ELIZABETHAN  TRANSLATIONS 


Another  edition :  — 

Lives  of  the  Saints.  .  .  .  Whereunto  are  added  the  lives  of  sun- 
dry other  Saints  .  .  .  extracted  out  of  F.  Ribadeneira,  Suruis, 
and  out  of  other  approved  authors.  The  third  edition.  (An 
apendix  of  the  Saints  lately  canonized,  and  Beatified,  by  Paul 
the  fifth,  and  Gregorie  the  fifteenth  [translated  into  English  by 
E.  Kinsman]).  2  pts. 

[J.  Heighan.  Saint-Omer.]  1630.  4to.  British  Museum. 

Another  edition :  — 

With  the  lives  of  S.  Patrick,  S.  Brigid,  and  S.  Columba.  .  .  . 
All  newly  corrected  and  adorned  with  many  brasen  picteurs,  etc. 

J.  Consturier.  [Rouen.]  1636.  4to.  British  Museum. 

The  original  of  this  popular  collection  of  the  Hves  of  the 
saints  is,  — 

[Flos  Sanctorum,  Historia  general  de  la  vida  y  hechos  de 
Jesu  Christo,  y  de  todos  los  santos  de  que  reza  la  Iglesia  Catolica. 
By  Alfonso  de  Villegas.] 

[Toledo.  1583?]  Foho.  British  Museum.  Imperfect.  The 
last  leaf  of  another  and  earlier  edition,  numbered  464  and 
dated  1578,  is  placed  at  the  end,  but  the  text  is  still  incomplete. 

The  standard  Spanish  edition  of  the  Flos  Sanctorum  is  that 
of  Pedro  de  Ribadeneira,  — 

Flos  sanctorum,  o  Libra  de  las  vidas  de  los  santos. 

Madrid.  1599-1610.  2  vols.  Folio. 

Ribadeneira's  most  celebrated  life  is  that  of  the  founder  of 
his  order,  St.  Ignatius  Loyola,  — 
Vida  de  S.  Ignacio  de  Loyola. 
Madrid.  1570.  8vo. 

The  Italian  translation  is  by  Timoteo  da  Bagno :  — 
Nuova  Leggendario  delta  vita,  e  fatti  di  N.  S.  Giesu  Christo, 
e  di  tutti  i  Santi  delli  quali  celebra  la  festa  .  .  .  la  chiesa  catho- 
lica  .  .  .  insieme  con  le  Vite  di  molti  altri  Santi,  che  non  .sono 
nel  .  .  .  Breviario  .  .  .  Raccolto  .  .  .  e  dato  in  luce  per  avanti  in 
lingua  Spagnuola,  sotto  titolo  di  Flos  Sanctorum  per  A.  di  V. 
et  .  .  .  tradotto  .  .  ,  in  lingua  Italiana,  per  T.  da  Bagno.  .  .  . 
Aggiuntovi  in  questa  editione  le  vite  e  fatti  d*  alcuni  Santi  e 


RELIGION  AND  THEOLOGY  273 


Beati  lequali  nelV  altre  si  desideravano.    {Leggendario  delle 
Vita  de'  Santi  detti  Estravaganti.)  2  pts. 
Venetia,  1604,  1605.  4to.  British  Museum. 

205 

[1615?]  Certaine  devout  considerations  of  frequenting  the 
Blessed  Sacrament:  .  .  .  With  sundrie  other  preceptes.  .  .  .  Firste 
written  in  Italian  .  .  .  and  now  translated  into  English  [by  J.  G.]. 

[Douay?  1615?]  12mo.  British  Museum, 

From  the  Italian  of  Fulvio  Androzzi. 

206 

[Before  1615.]  A  Treatise  of  Tribulation. 

Translated  by  John  Fenn,  from  Trattato  sidle  Trihulazioni, 
by  Cacciaguerra. 

Girolamo,  or  Buonsignore,  Cacciaguerra  wrote  Lettere  Spirit- 
uali  (Rome,  1575,  8vo),  and  Meditazioni  (Rome,  1583). 

John  Fenn,  perpetual  fellow  of  New  College,  Oxford,  1552, 
was  a  schoolmaster  at  Bury  St.  Edmunds  in  Queen  Mary's 
reign.  A  Roman  Catholic  exile  under  Elizabeth,  he  studied 
four  years  in  Italy,  was  ordained  priest,  and  died,  December 
27,  1615,  as  confessor  to  a  community  of  English  Augustinian 
nuns  at  Louvain.  I  have  been  unable  to  find  out  the  date 
and  place  of  publication  of  either  the  Trattato  or  the  Treatise: 
the  last  edition  of  the  Trattato  (Padua,  1769,  Bvo)  shows  a  rim 
of  nearly  two  hundred  years. 

John  Fenn  translated  two  other  religious  works  from  the 
Italian,  The  Life  of  the  blessed  Virgin  St.  Catherine  of  Sienna 
(1608)  and  Instructions  and  Advertisements  how  to  meditate 
the  Misteries  of  the  Rosarie  of  the  most  Holy  Virgin  Mary,  also 
without  date  or  place  of  publication,  both  recorded  here, 
the  last,  upon  the  authority  of  the  British  Museum,  as  1600(?), 
Rouen  (?). 

207 

1616.  A  manifestation  of  the  motives,  whereupon  .  .  .  M.  A. 
de  Dominis,  Archbishop  of  Spalatro,  Undertooke  his  departure 


274  ELIZABETHAN  TRANSLATIONS 


thence.  Englished  out  of  his  Latine  Copy.  {Decretum  Sacrce 
Congregationis  .  .  .  Cardinalium  ,  ,  .  ad  ludicem  Lihrorum  .  .  . 
deputatorum  [condemning  the  work],  —  The  same  in  English. 
—  A  parcell  of  Observations  upon  .  .  .  this  Decree.  A  letter  .  .  . 
to  the  aforesaid  Archhish.  by  G.  Lingelsheim,  etc.  (Lat.  and  Eng.) 

J.  Bill.  London.  1616.  4to.  British  Museum. 

For  the  original  of  A  manifestation  of  the  motives,  etc.,  see 
Marcus  Antonius  de  Dominis  sues  Profectionis  consilium  ex- 
ponit.   (London,  1616.) 

It  is  a  tract  explaining  why  De  Dominis  renounced  the 
Roman  faith. 

208 

1617.  A  Sermon  preached  .  .  .  the  first  Sunday  in  Advent, 
Anno.  1617.  in  the  Mercers  Chappel  in  London,  to  the  Italians 
in  that  city,  .  .  .  upon  the  12.  verse  of  the  XIII  Chapter  to  the 
Romanes.  .  .  .  Translated  into  English. 

J.  Bill.  London.  1617.  4to.  British  Museum. 

By  Marco  Antonio  de  Dominis.  In  1550,  the  Itahans  and 
Genoese  had  their  congregation  in  the  Mercer's  church  of 
St.  Thomas  of  Aeon,  which  was  continued  during  the  reign  of 
Queen  Elizabeth. 

Returns  of  Aliens  dwelling  in  the  City  and  Suburbs  of  London 
from  the  reign  of  Henry  VIII.  to  that  of  James  I.  Part  I.  1523- 
1571.  Edited  by  R.  E.  G.  Kirk  and  Ernest  F.  Kirk.  Huguenot 
Society  of  London. 

See  Predica  .  .  .  fatta  la  prima  Domenica  delV  Avvento,  etc. 
1617. 

209 

1618.  The  rockes  of  Christian  Shijywracke,  discovered  by  the 
Holy  Church  of  Christ  to  her  beloved  Children,  that  they  may 
keepe  aloof e  from  them.  Written  in  Italian  by  .  ,  .  M.  A.  De 
Dominis  and  thereout  translated  into  English. 

J.  Bill.  London.  1618.  4to.  British  Museum. 
A  translation  of  Scogli  del  Christiano  Naufragio  quali  va 
scopendo  la  santa  Chiesa.  It  is  a  little  book  written  by  De 


RELIGION  AND  THEOLOGY  275 


Dominis  in  Heidelberg  on  his  way  to  England,  and  is  the 
most  violent  of  all  his  attacks  upon  the  Church  of  Rome. 

210 

1619.  The  life  of  the  Holy  .  .  .  Mother  Suor  Maria  Madda- 
lena  de  Patsi  .  .  .  written  in  Italian  by  .  ,  .  F.[incenzo]  P.  [uc- 
cini]  and  now  translated  into  English  [by  G.  B.]. 

[Cologne?]  1619.  8vo.  British  Museum. 
The  title  of  a  later  and  different  translation  reads,  — 
The  Life  of  St.  Mary  Magdalene  of  Pazzi,  a  Carmelite  Nunn. 
Newly  translated  [and  abridged]  out  of  the  Italian  by  the  Rever- 
end Father  Lezin  de  Sainte  Scholastique.  Provincial  of  the  Re- 
formed Carmelites  of  Touraine.  .  .  .  And  now  done  out  of  French: 
with  a  ^preface  concerning  the  nature,  causes,  concomitance,  and 
consequences  of  ecstasy  and  rapture,  and  a  brief  discourse  added 
about  discerning  and  trying  the  Spirits,  whether  they  be  of  God 
[by  T.  Smith]. 

R.  Taylor.  London.  1687.  4to.  Pp.  134.  British  Museum 
(6  copies). 
The  Italian  original  is,  — 

Vita  delta  veneranda  Madre  Suor  Maria  Maddalena  de* 
Pazzi,  etc. 

Firenze.  1611.  4to.  British  Museum.  Imperfect,  contain- 
ing pp.  546  only. 

Cattarina  de  Geri  de'  Pazzi  (1566-1607)  was  of  a  noble 
Florentine  family  and  daughter  of  a  governor  of  Cortona. 
She  entered  the  order  of  Carmelites  of  Santa  Maria  degli 
Angeli,  May  27,  1584,  taking  the  name  in  religion  of  Suora 
Maria  Maddalena.  She  was  canonized  in  1670.  The  convent 
of  S.  Maddalena  de'  Pazzi,  at  Florence,  was  named  after  her. 
Her  life  was  also  written  by  Father  Virgilio  Cepari,  author  of 
The  Life  of  B.  Aloysius  Gonzaga  (1627). 

211 

1620.  The  Historic  of  the  Councel  of  Trent  Conteining  eight 
Bookes.  In  which  {besides  the  ordinarie  Actes  of  the  Councell) 


276  ELIZABETHAN  TRANSLATIONS 


are  declared  many  notable  occurrences^  which  happened  in 
Christendome  during  the  space  of  fourtie  yeares  and  more.  And 
particularly,  the  practices  of  the  Court  of  Rome,  to  hinder  the 
Reformation  of  their  errors,  and  to  maintaine  their  great- 
nesse.  Written  in  Italian  by  Pietro  Soave  Polano  and  faithfully 
translated  into  English  by  Nathanael  Brent  [Sir  Nathaniel 
Brent]. 

R.  Barker  and  J.  Bill.  London.  1620.  Folio.  Pp.  825. 
British  Museum.  Also,  London,  1629.  Folio.  British  Museum. 
1640.  Folio.  British  Museum.  1676.  Folio.  (With  the  Xz>  of 
Father  Paul,  by  Fra  Fulgenzio  Mieanzio,  translated  by  a 
*  Person  of  Quality,'  and  the  History  of  the  Inquisition,  trans- 
lated by  Robert  Gentilis.)  British  Museum. 

Unto  this  second  edition  are  added  divers  .  .  .  Passages  and 
Epistles,  concerning  the  trueth  of  this  historic,  etc. 

B.  Norton  and  J.  Bill.  London.  1629.  Folio. 

Dedicated  (1620)  both  to  King  James  I  and  to  the  Arch- 
bishop of  Canterbury. 

This  work  is  a  translation  of  Father  PauFs, 

Historia  del  Concilio  Tridentino,  nella  quale  si  scoprono  tutti 
gV  artificii  delta  Carte  di  Roma,  per  impedire  che  ne  la  veritd 
di  dogmi  si  palesasse,  ne  la  riforma  del  Papato,  &  delta  Chiesa 
si  trattasse.  Di  Pietro  Soave  Polano.  [Edited  by  Marco  Antonio 
de  Dominis,  successively  Bishop  of  Segni  and  Archbishop  of 
Spalatro.j 

Appresso  G.  Billio.  Londra.  1619.  Folio.  Pp.  806.  British 
Museum  (5  copies). 

Marco  Antonio  de  Dominis,  a  Jesuit  and  Archbishop  of 
Spalatro,  was  a  friend  of  Father  Paul's.  Upon  going  to  Eng- 
land, about  1616,  it  is  said  that  he  took  with  him  the  manu- 
script of  the  Historia  del  Concilio  Tridentino,  which  Father  Paul 
had  lent  him. 

Izaak  Walton,  in  his  Life  of  Sir  Henry  Wotton,  says  that 
Father  Paul's  *  History'  was  sent,  as  fast  as  it  was  written, 
"in  several  sheets  in  letters  by  Sir  Henry  Wotton,  Mr.  Bedel, 
and  others,  unto  King  James,  and  the  then  Bishop  of  Canter- 


RELIGION  AND  THEOLOGY  277 


bury,  into  England,  and  there  first  made  public,  both  in  Eng- 
lish and  the  universal  language." 

Anthony  a  Wood  furnishes  the  information  that  Sir  Nathan- 
iel Brent  "travelled  into  several  parts  of  the  learned  world, 
in  1613-14,  etc.,  and  underwent  dangerous  adventures  in  Italy 
to  procure  the  Historie  of  the  Councel  of  Trenty  which  he  trans- 
lated into  English." 

At  all  events,  De  Dominis  professed  Protestantism  in  Eng- 
land, and  was  made  dean  of  Windsor  by  King  James  I,  and 
it  was  under  royal  favor,  and  without  the  consent  of  Father 
Paul,  that  the  work  was  brought  out  in  London.  (See  a  letter 
written  by  Fra  Fulgenzio,  secretary  to  Fra  Paolo,  November 
11,  1609,  in  A.  Bianchi-Giovini's  Biografia  di  Fra  Paolo  Sarpi. 
Zurich,  1836.) 

The  author's  name  as  given  in  the  English  title,  Pietro 
Soave  Polano,  is  an  anagram  of  Paolo  Sarpi  Veneto. 

I  find  an  interesting  reference  to  the  composition  of  the 
Historia  del  Concilio  Tridentino  in  that  most  curious  book, 
the  autobiography  of  William  Lilly  the  astrologer,  — 

"It  happened,"  says  Lilly,  "that  after  I  discerned  what 
astrology  was,  I  went  weekly  into  Little-Britain,  and  bought 
many  books  of  astrology,  not  acquainting  Evans  therewith. 
[John  Evans  was  an  astrologer  from  whom  Lilly  was  at  the 
time  learning  the  tricks  of  the  trade.]  Mr.  A.  Beddell,  minister 
of  Tottenham-High-Cross,  near  London,  who  had  been  many 
years  chaplain  to  Sir  Henry  Wotton,  whilst  he  was  ambassador 
at  Venice,  and  assisted  Pietro  Soave  Polano,  in  composing  and 
writing  the  Council  of  Trent,  was  lately  dead;  and  his  library 
being  sold  in  Little-Britain,  I  bought  amongst  them  my  choic- 
est books  of  astrology." 

William  Lilly  s  History  of  his  Life  and  Times,  from-  the  year 
1602  to  1681,  Written  by  Himself,  in  the  sixty -sixth  year  of 
his  age,  to  his  worthy  friend,  Elias  Ashmole,  Esq.  Published  from 
the  original  MS.  London.  1715. 

Lilly's  autobiography  is  also  to  be  found  in,  — 

Autobiography.  A  Collection  of  the  Most  Instructive  and  Amus- 
ing Lives  ever  Published.  Written  by  the  Parties  themselves. 


278  ELIZABETHAN  TRANSLATIONS 


London.  182^30.  Vol.  ii.  (Containing  the  lives  of  Hume, 
Lilly,  and  Voltaire.) 

Lilly  is  in  error  as  to  the  owner  of  the  Hbrary  sold  in  Little 
Britain.  He  bought  books  that  had  belonged  to  William 
Bedwell  (1561  or  1562-1632),  father  of  Arabic  studies  in  Eng- 
land. When  he  says  that  Bedwell  was  chaplain  to  Sir  Henry 
Wotton,  he  confuses  him  with  WilHam  Bedell  (1571-1642), 
Bishop  of  Ardagh  and  Kilmore.  Bedell  was  chaplain  to  Sir 
Henry  Wotton,  and  remained  in  Venice  for  eight  years,  ac- 
quiring great  reputation  as  a  scholar  and  theologian.  He  was 
a  close  friend  of  Fra  Paolo,  and  made  a  Latin  version  of  his 
Istoria  Particolare  [delV  Interdetto]  (Venice,  1626,  4to),  en- 
titled Interdicti  Veneti  Historia,  etc.  (Cambridge,  1626,  4to.) 
He  also  translated  the  book  of  Common  Prayer  into  Italian. 

Fra  Paolo's  point  of  view  is,  that  the  Council  of  Trent  was 
a  political,  and  not  a  religious,  congress;  it  is  said  that  Sir 
Henry  Wotton,  sending  the  Father's  portrait  to  England, 
wrote  under  it  —  Concilii  Tridentini  eviscerator.  Consult  the 
papers  added  to  Burnet's  Life  of  Bishop  Bedell  (London,  1692). 

"We  have  been  moved  over  Macaulay's  death.  He  had 
dined  with  us  on  December  6th,  and  I  never  saw  him  in  greater 
force,  or  with  more  abundance  of  anecdote.  I  have  been  al- 
lowed to  choose  a  book  from  his  hbrary  as  a  remembrance. 
I  wonder  which  you  would  have  chosen.  I  *s withered'  —  do 
you  know  that  Scottish  word  for  *  hesitated'?  —  between  two, 
an  edition  of  Crabbe's  Tales  of  the  Hall  and  of  Sarpi's  His- 
tory of  the  Council  of  Trent^  both  full  of  pencil  notes.  At  last, 
I  chose  the  latter  as  most  interesting  and  historical."  (From 
a  letter  to  Tennyson,  dated  January  20,  1860,  in  the  Autobi- 
ography and  Memoirs  of  George  DouglaSy  Eighth  Duke  of  Argyle, 
Vol.  II,  p.  572.) 

212 

1620.  A  Relation  of  the  Death  of  the  most  illustrious  Lord, 
Sigr  Troilo  Sauelli,  a  haron  of  Home,  who  was  there  beheaded 
in  the  castle  of  Sant  Angelo,  on  the  18  of  Aprill,  1592. 


RELIGION  AND  THEOLOGY  279 


Anonymous,  but  ascribed  to  Sir  Tobie  Matthew  by  Henry 
Peacham  in  Truth  of  our  Time  (p.  102). 

The  penitent  Bandito,  or  the  Historie  of  the  Conversion  and 
Death  of  the  most  illustrious  Lord  Signior  Troilo  Savelli  a  Baron 
of  Rome.  [Translated]  by  Sir.  T.  ilf  .[atthew]  Knight. 

1663.  12mo.  British  Museum. 

This  edition  contains  the  author's  [translator's]  name  in 
full  in  Anthony  a  Wood's  handwriting. 

213 

1620.  Good  Newes  to  Christendome.  Sent  to  a  Venetian  in 
Ligorne,  from  a  Merchant  in  Alexandria.  Discovering  a  won- 
derfull  and  strange  Apparition  .  .  .  seene  .  .  .  over  the  place, 
where  the  supposed  Tomhe  of  Mahomet  .  .  .  is  inclosed.  ,  .  .  Done 
out  of  Italian  [of  Lodovico  Cortano]. 

Printed  for  N.  Butter.  London.  1620.  4to.  British  Museum 
(3  copies). 

214 

1621.  The  Treasure  of  vowed  Chastity  in  secular  Persons. 
Also  the  Widdowes  Glasse:  abridged  out  of  .  .  .  Fulvius  Andro- 
tius  [Fulvio  Androzzi]  .  .  .  and  others.  Translated  into  English 
by  J.  W. 

[Douayf]  1621.  24mo.  British  Museum 

215 

1623.  M.  A.  de  Dominis  .  .  .  declares  the  cause  of  his  Returned 
out  of  England.  Translated  out  of  the  Latin  Copy  printed  at 
Rome. 

[Douay?]    1623.    12mo.    British  Museum. 

This  is  a  translation  of  De  Dominis's  Sui  reditus  ex  Anglia 
consilium  exponit  (Rome,  1623,  4to).  It  is  his  recantation  of 
Protestantism,  made  in  Profectionis  consilium  exponit  (Lon- 
don, 1616). 

A  different  English  translation  of  this  work  appeared  in 
1827,  entitled,  — 


280  ELIZABETHAN  TRANSLATIONS 


My  motives  for  renouncing  the  Protestant  Religion. 
London.  1827.  8vo.  British  Museum. 

Marco  Antonio  de  Dominis,  as  a  Roman  Catholic,  had  been 
Bishop  of  Segni  and  Archbishop  of  Spalatro;  as  a  Protestant, 
James  I  made  him  Dean  of  Windsor.  Thomas  Middleton  ridi- 
cules him  in  his  political  play,  A  Game  at  Chess  (1624),  as  "the 
fat  bishop,"  the  "balloon  ball  of  the  churches." 

216 

1624.  The  Psalter  of  Jesus,  contayninge  very  devoute  and 
godlie  petitions.  Newlie  imprinted  and  amplified  with  enriche- 
ment  of  figures.  {A  Mirrour  to  Confesse  well.  .  .  .  Abridged  out 
of  sundry  confessionals,  by  a  certaine  devout,  and  religious 
man  [John  Heigham].  —  Certaine  .  .  .  very  pious  and  godly 
considerations,  proper  to  be  exercised,  whilst  the  .  .  .  Sacrifice 
of  the  Masse  is  celebrated.  .  .  .  By  J.  Heigham.  —  Divers  Devout 
considerations  for  the  more  worthy  receaving  of  the  .  .  .  Sacra- 
ment, collected  .  .  .by  J.  Heigham.  —  Certaine  advertisments 
teaching  men  how  to  lead  a  Christian  life.  Written  in  Italia  by 
S.  Charles  Boromeus.  —  A  brief e  and  profitable  exercise  of  the 
seaven  principall  effusions  of  the  .  .  ,  blood  of  .  .  .  Jesus  Christ. 
.  .  .  Translated  .  .  .  into  English  .  .  .by  J.  Heigham.)  6  pts. 

Doway,  s.  Omers.  1624.  12mo.  British  Museum. 
This  is  a  revised  edition  of  Richard  Whitford'sJ^^w^  Psalter 
(1583). 

217 

1625.  The  Free  Schoole  Of  Warre,  Or,  A  Treatise,  Whether 
It  Be  Lawful  To  beare  Armes  for  the  seruice  of  a  Prince  that  is  of 
a  diuers  Religion.  [Translated  from  the  Italian  by  W.  B.] 

London.  Printed  by  John  Bill,  Printer  to  the  Kings  most 
excellent  Maiestie.  1625.  4to.  British  Museum. 

The  author  of  The  Free  Schoole  of  Warre  was  an  Italian  and 
a  Roman  Catholic,  from  whom  the  denial  of  absolution  by 
their  confessors  to  certain  Italian  gentlemen  who  had  served 
the  States  in  the  wars  of  the  Low  Countries  called  forth  this 
remonstrance. 


RELIGION  AND  THEOLOGY  281 


"His  name,"  says  the  translator  "(as  his  owne  silence  bids 
me),  shall  not  by  any  Curiosities  or  Coniectures  of  mine  be 
raked  into.  It  appears  that  he  was  desirous  to  do  good,  not 
ambitious  to  receive  honour."  The  author  undoubtedly  con- 
cealed his  name  to  insure  his  personal  safety. 

A  Bibliography  of  English  Military  Books  up  to  IGJ/.^  and 
of  Contemporary  Foreign  Works.  By  Maurice  J.  D.  Cockle, 
Late  Captain  4th  Battalion,  Border  Regiment. 

London.  1900. 

218 

1626.  The  History  of  the  quarrels  of  Pope  Paul  V.  with  the 
State  of  Venice,  in  seven  Books.  .  .  .  Faithfully  translated  out 
of  the  Italian  [by  C.  P.,  i.e.,  Christopher  Potter,  provost  of 
Queen's  College,  Oxford]  and  compared  with  the  French  Copie. 

J.  Bill.  London.  1626.  4to.  Pp.  435. 

The  *  French  Copie'  is  the  Histoire  du  Concile  de  Trente. 
Traduite  de  Vltalien  de  Pierre  Soave  Polan.  Par  Jean  Diodate 
[Giovanni  Diodati].  Geneva.  1621.  Folio. 

A  Sermon  [on  John  xxi,  17]  preached  at  the  consecration  of 
.  .  .  Barnahy  Potter  .  .  .  Bishop  of  Carlisle  [15  March,  1628]. 
.  .  .  Hereunto  is  added  an  Advertisement  touching  the  History 
of  the  Quarrels  of  Pope  Paul  5  with  the  Venetian;  penned  in 
Italian  by  F.  Paul  and  done  into  English  by  the  former  Author, 

J.  Clarke.  London.  1629.  8vo.  Pp.  127.  British  Museum. 

A  translation  of  Fra  Paolo's 

Istoria  particolare  delle  cose  passate  tra*l  Sommo  Pontifice 
Paolo  V  ela  Serenissima  Republica  di  Venetia  gli'  anni  M.DCV, 
M.DCVI,  M.DCVII.  [Lione.]  [Venice.?^]  1624.  4to.  Bntish 
Museum. 

At  the  accession  of  Pope  Paul  V,  Venice  offered  the  single 
instance  in  Italy  of  a  national  church.  The  RepubHc  collected 
the  tithes  and  the  clergy  acknowledged  no  chief  above  their 
own  patriarch.  But  the  policy  of  the  Papacy,  although  vary- 
ing under  different  Popes,  was  in  general  one  of  encroachment 
on  the  civil  authority,  and  the  opulent  State  of  Venice  proved 


282  ELIZABETHAN  TRANSLATIONS 


a  shining  mark.  The  Venetians  objected  strenuously  to  this 
encroachment,  especially  in  its  effect  upon  the  revenues  of 
the  Republic.  The  Roman  Court,  claiming  superior  authority, 
exempted  so  many  ecclesiastics  and  ecclesiastical  benefices 
from  taxation,  that,  at  a  time  when  it  was  computed  that  the 
property  of  the  Venetian  clergy  was  worth  eleven  million 
ducats,  the  tithes  did  not  actually  yield  more  than  twelve 
thousand  ducats.  Again,  the  regulations  of  the  Curia  had 
practically  ruined  the  Venetian  press;  no  books  could  be 
published,  except  such  as  were  approved  in  Rome,  and,  in 
many  instances,  except  such  as  were  printed  in  Rome. 

A  growing  ill-feeling  between  the  Republic  and  the  Papacy 
came  to  open  breach  immediately  after  the  election  of  Pope 
Paul  V.  It  was  caused  by  the  claim  of  the  Venetians  to  try 
ecclesiastical  culprits  before  the  civil  authorities,  and  by  the 
renewal  of  two  old  laws,  the  one  forbidding  the  alienation  of 
real  property  in  favor  of  the  clergy,  the  other  making  the  con- 
sent of  the  Government  necessary  to  the  building  of  new 
churches  and  to  the  founding  of  new  monastic  orders.  Paul  V 
demanded  the  surrender  of  two  priests,  Scipio  Sanazin,  Canon 
of  Vicenza,  and  Count  Brandolin  Valde-marino,  Abbot  of  Ner- 
vesa,  held  for  civil  crimes,  and  the  repeal  of  the  two  laws,  and 
when  the  Venetians  refused  to  yield,  he  placed  the  whole  Vene- 
tian territory  under  interdict,  April  17,  1606. 

Upon  this,  the  Council  of  Ten  issued  two  proclamations. 
May  6;  one,  addressed  to  the  citizens,  set  forth  the  aggressions 
of  the  Pope  and  called  upon  them  for  aid  in  resisting  his  de- 
mands; the  other  forbade  the  Venetian  clergy  to  pay  any  at- 
tention to  the  papal  bull,  and  banished  those  who  disobeyed. 
A  vehement  literary  controversy  arose,  conducted  for  the 
Pope  by  the  famous  Jesuit,  Cardinal  Bellarmino,  and  for  the 
Venetians  by  Fra  Paolo  of  the  order  of  the  Servites.  Paul  V 
even  meditated  war  on  Venice  and  applied  for  aid  to  France 
and  Spain.  Both  of  these  States,  however,  wished  to  keep  the 
peace,  and  through  the  mediation  of  Cardinal  Joyeuse,  a  com- 
promise was  effected.    The  Venetians  made  some  nominal 


RELIGION  AND  THEOLOGY  283 


concessions,  whose  solemn  details  read  almost  like  burlesque. 

As  to  the  two  offending  priests,  Ranke  relates,  —  "The 
secretary  of  the  Venetian  Senate  conducted  the  prisoners  to 
the  palace  of  the  French  ambassador,  *and  dehvered  them 
into  his  hands,  out  of  respect,'  he  said,  *for  the  most  Christian 
king,  and  with  the  previous  understanding  that  the  right  of 
the  Republic  to  judge  her  own  clergy  should  not  thereby  be 
diminished.'  *So  I  receive  them,'  replied  the  ambassador, 
and  led  them  before  the  cardinal,  who  was  walking  up  and 
down  in  a  gallery  (loggia).  *  These  are  the  prisoners,'  said 
he,  *who  are  to  be  given  up  to  the  Pope;'  but  he  did  not  al- 
lude to  the  reservation.  Then  the  cardinal,  without  uttering 
one  word,  delivered  them  to  the  papal  commissary,  who 
received  them  with  the  sign  of  the  cross." 

The  French  found  the  demand  for  the  repeal  of  the  two 
laws  harder  to  deal  with.  At  first,  January,  1607,  the  Senate 
positively  refused  to  suspend  the  laws;  later,  in  March,  1607, 
without  any  formal  or  express  repeal,  a  decision  was  reached 
that  "the  Republic  would  conduct  itself  with  its  accustomed 
piety." 

Paul  V  found  it  wise  to  accept  these  terms,  and  withdrew 
his  censures.  The  main  result  of  the  quarrel  was  to  demon- 
strate the  weakness  of  the  spiritual  weapon  upon  which  the 
Roman  Curia  had  so  long  relied,  and  to  reveal  the  disrepute 
into  which  papal  pretensions  had  fallen  even  among  Catholic 
nations.  This  is  strikingly  shown  by  the  fate  of  the  Jesuits 
in  the  struggle.  When  the  Venetians  put  it  sharply  to  their 
clergy  that  they  must  either  obey  the  Republic  or  leave  its 
dominions,  the  Jesuits  chose  the  side  of  the  Pope  and  with- 
drew into  his  territory.  The  Venetians  then  by  a  solemn 
decree,  June  14,  1606,  excluded  the  order  from  the  Republic, 
nor  would  they  upon  any  terms,  or  for  anybody,  reconsider 
this  decision.  The  Jesuits  remained  permanently  banished 
from  the  State.  How  "resolved  and  careless"  the  Venetians 
came  out  of  the  struggle  is  related  by  Izaak  Walton,  in  his 
Life  of  Sir  Henry  Wotton,  He  says,  "they  made  an  order, 


284  ELIZABETHAN  TRANSLATIONS 


that  in  that  day  in  which  they  were  absolved,  there  should 
be  no  public  rejoicing,  nor  any  bonfires  that  night,  lest  the 
common  people  might  judge,  that  they  desired  an  absolution, 
or  were  absolved  for  committing  a  fault."  (Ranke,  History 
of  the  Popes,  Book  vi.  Section  12,  of  Sarah  Austin's  translation. 
Philadelphia.  1841.  Biografia  di  Fra  Paolo  Sarpi.  Par  A. 
Bianchi-Giovini,  Zurich,  1836.  Westminster  Review,  Vol. 
XXXI,  p.  146,  1838.  Life  of  Sir  Henry  Wotton.  Walton's  Lives, 
Ed.  A.  H.  BuUen.) 

See  Bedell's,  Interdicti  Veneti  Historia,  etc.  (1626). 

219 

1626.  The  Seaven  Trumpets  of  Brother  B.  Saluthius  of  the 
holie  Order  of  S.  Francis  .  .  .  exciting  a  sinner  to  repentance. 
.  .  .  Translated  out  of  the  Latin  into  the  English  tongue,  by  Br. 
G.  P.  of  the  same  order,  etc. 

For  J.  Heigham.  *S.  Omers.  1626.  12mo.  British  Museum. 

The  "Epistle  Dedicatorie"  is  signed  "G.  P." 

Translated  from  Bartolommeo  Cambi;  the  British  Museum's 
copy  of  the  original  is  dated  1804,  — 

Delle  Sette  Trombe,  opera  utilissima  per  risvegliare  i  pecca- 
tori  a  penitenza.  .  .  .  In  questa  nuova  impressione  corretta,  etc. 

Napoli.  1804.  12mo. 

220 

1627.  The  Life  of  B.  Aloysius  Gonzaga.  .  .  .  Written  in  Latin 
by  the  R.  Fa[ther]  F.[irgilio]  Ceparius.  .  .  .  And  translated  into 
English  by  R.  S. 

Paris.  1627.  8vo.  British  Museum. 
From  Virgilio  Cepari,  — 

De  vita  beati  Aloysii  Gonzagae  .  .  .  libri  tres,  etc.  ColonioB 
Agrippinoe.  1608.  8vo.  British  Museum  (2  copies). 

An  Italian  version  of  earlier  date  is  dedicated  to  Pope 
Paul  V  — 

Vita  del  beato  Luigi  Gonzaga  delta  Compagnia  di  Giesu, 
.  .  .  scritta  dal  P.  V.  Cepari,  .  .  .  et  dal  Marchese  Francesco 


RELIGION  AND  THEOLOGY 


285 


dedicata  alia  santita  di  N.  S.  Papa  Paolo  Quinto.  (Medita- 
tione  de  gV  Angeli  santi  .  .  .  composta  dal  beato  L.  Gonzaga.) 
Roma.  1606.  4to.  British  Museum. 

Luigi  di  Gonzaga,  Saint  Aloysius  (1568-1591),  was  the 
son  of  Ferdinand  di  Gonzaga,  Marquis  of  Castiglione  della 
Stivere.  He  renounced  his  rights  in  the  marquisate  to  his 
brother,  in  1585,  and  entered  the  Society  of  Jesus.  Six  years 
later  he  died  of  a  fever  contracted  in  nursing  the  sick  during 
an  epidemic.  He  was  beatified  by  Pope  Gregory  XV  in  1621, 
and  canonized  by  Pope  Benedict  XIII  in  1726.  Father  Vir- 
giHo  Cepari  was  a  fellow  Jesuit  who  knew  him  personally. 

221 

1628.  A  discourse  upon  the  Reasons  of  the  Resolution  taken 
in  the  Valteline  against  the  tyranny  of  the  Orisons  and  Here- 
tiques.  To  the  .  .  .  King  of  Spaine,  D.  Phillip  the  Third.  Writ- 
ten in  Italian  by  the  author  of  The  Councel  of  Trent  [Paolo 
Servita,  i.e.,  Pietro  Sarpi]  and  faithfully  translated  into  English 
[by  Philo-Britannicos,  i.e..  Sir  Thomas  Roe].  With  the  transla- 
tors Epistle  to  the  Commons  House  of  Parliament.  [With  the 
text  of  the  Reasons.] 

London.  Printed  for  W.  Lee.  1628.  8vo.  Pp.  101.  British 
Museum  (2  copies).  Also,  1650,  with  a  new  title,  — 

The  cruell  Subtility  of  Ambition  discovered  in  a  discourse  con- 
cerning the  King  of  Spaines  surprizing  the  Valteline.  Written 
in  Italian  by  the  author  of  the  historic  of  the  Councell  of  Trent 
[Paolo  Servita,  i.e.,  P.  Sarpi,  in  answer  to  *'  The  Reasons  of  the 
Resolution  lately  taken  in  the  Valteline  against  the  tyrannic  of  the 
Orisons  and  the  Heretiques  "].    Translated  by  Sir.  T.  Roe,  etc. 

W.  Lee.  London.  1650.  4to.  British  Museum. 

A  translation  of 

Discorso  sopra  le  ragioni  della  risolutione  fatta  in  Val  Telina 
contra  la  tirannide  de'  Orisoni,  &  Heretidy  etc.  [In  the  form 
of  a  letter  addressed  to  Philip  III,  King  of  Spain.  With  the 
text  of  the  Ragioni.] 

[Venice .'^  1624.^]  4to.  Pp.  48.  British  Museum  (2  copies). 


286  ELIZABETHAN  TRANSLATIONS 


The  authorship  of  the  Discorso,  which  was  pubHshed  anony- 
mously, appears  to  be  exceedingly  doubtful. 

The  Valtellina,  or  Valtelline,  is  the  valley  of  the  upper 
Adda  in  the  extreme  north  of  Italy,  province  of  Sondrio;  it 
is  sixty-eight  miles  long,  from  the  Serra  di  Morignone  (sepa- 
rating it  from  the  district  of  Bormio)  to  the  lake  of  Como. 
It  belonged  during  the  middle  age  to  Lombardy  and  to  Milan, 
and  came  under  the  rule  of  the  Grisons  (the  largest  and  eastern- 
most canton  of  Switzerland)  in  1512. 

Strategically,  it  is  a  very  important  pass  connecting  Lom- 
bardy with  the  Tyrol,  and  for  this  reason  there  were  repeated 
struggles  for  its  possession  during  the  Thirty  Years'  War, 
between  Austria  (the  Hapsburgs)  and  Spain,  on  the  one  side, 
and  France  (Richelieu),  Venice,  and  the  Grisons,  on  the  other. 
In  1620,  the  Spanish  and  Roman  Catholic  faction,  headed  by 
the  Planta  family,  massacred  a  great  number  of  Protestants 
in  the  valley  (the  "free  community"  of  Poschiavo  had  become 
Protestant  at  the  time  of  the  Reformation).  For  the  next 
twenty  years  the  Valtelline  was  held  by  different  conquerors, 
by  the  Spaniards  (1620,  1621-23,  1629-31,  1637-39);  by  the 
French  (1624-26,  1635-37),  who  by  the  Treaty  of  Mongon 
restored  the  pass  to  the  canton  of  the  Grisons;  and  by  the 
Pope  (1623,  1627). 

In  1639,  the  Valtelhne  was  finally  given  back  to  the  Grisons, 
on  condition  that  it  should  be  Roman  Cathohc  territory. 

222 

1632.  Fuga  Swculi:  or  the  Holy  Hatred  of  the  World.  Con- 
teyning  the  Lives  of  17,  Holy  Confessours  of  Christ,  selected 
out  of  sundry  Authors.  Written  in  Italian:  .  .  .  and  translated 
into  English  by  jH'.[enry]  fl'.[awkins]. 

Printed  at  Paris.  1632.  4to.  British  Museum. 

From  the  Itahan  of  the  Jesuit  father,  Giovanni  Pietro 
Maffei,  Vite  di  diciasette  Confessori  di  Cristo  scelte  da  diversi 
autori  e  nel  volgare  Italiano  ridotte  dal  P.  G.  P.  M.  British 
Museum^  ed.  Bergamo.  1746.  4to. 


RELIGION  AND  THEOLOGY  287 


Among  the  lives  are  those  of  St.  Edward  the  Confessor; 
St.  Anselm,  Archbishop  of  Canterbury;  and  St.  Hugh,  Bishop 
of  Lincoln. 

Henry  Hawkins,  who  was  himself  a  Jesuit,  was  a  brother 
of  Sir  Thomas  Hawkins,  translator  of  Pierre  Matthieu's  Mlius 
Sejanus  Histoire  Romaine,  as  Unhappy  Prosperitie  (1632),  and 
of  John  Hawkins,  translator  of  Paraphrase  upon  the  seaven 
Penitential  Psalms  (1635). 

223 

1632.  The  Admirable  Life  of  S.  Francis  Xavier.  Devided 
into  VI.  Bookes.  Written  in  Latin  by  Fa.  H.  Tursellinus 
[Orazio  Torsellino].  .  .  .  And  translated  into  English  by  Thomas 
F.[itzherbert?]. 

Paris.  1632.  4to.  British  Museum. 

Translated  from  Orazio  TorseUino's  De  vita  Fr.  Xaverii 
(Rome,  1594,  8vo). 

224 

1635.  Paraphrase    upon   the   seaven   Penitential  Psalms. 
Translated  from  the  Italian  by  J.  H. 
London.  1635.  8vo. 
*  J.  H.'  was  John  Hawkins. 

225 

1638.  The  Hundred  and  Ten  Considerations  of  Signior  John 
V aides  so:  Treating  of  Those  things  which  are  most  profitable  y 
most  necessary^  and  most  perfect  in  our  Christian  Profession. 
Written  in  Spanish  [by  Juan  de  Vald6z]  Brought  out  of  Italy 
by  Vergerius,  and  first  set  forth  in  Italian  at  Basil  by  Ccelius 
Secundum  Curio,  Anno  1550.  Afterwards  translated  into  French, 
and  Printed  at  Lions  1563,  and  again  at  Paris  1565.  .  .  .  And 
now  translated  out  of  the  Italian  copy  into  English  [by  Nicholas 
Ferrar],  with  notes  [by  George  Herbert].  W hereunto  is  added  an 
Epistle  of  the  Authors,  or  a  Preface  to  his  Divine  Commentary 
upon  the  Romans.   1  Cor.  2.  Howbeit  we  speake  wisdome 


288  ELIZABETHAN  TRANSLATIONS 


amongst  them  that  are  perfect,  yet  not  the  wisdome  of  this 
world. 

Oxford.  Printed  by  Leonard  Lichfield,  Printer  to  the  Uni- 
versity. Ann.  Dom,  1638.  8vo.  British  Museum.  Cambridge. 
1646. 

The  Italian  edition,  edited  by  C.  S.  Curio,  was,  — 

Le  cento  &  died  divine  considerationi  del  S.  G.  Valdesso: 

nelle  quali  si  ragiona  delle  cose  piii  utili  piii  necessarie  e  piii 

perfette  delta  Christiana  professione. 
Basilea.  1550.  8vo.  British  Museum. 

"With  Ferrar's  translation  of  Valdezzo's  Hundred  and  Ten 
Considerations  were  published  a  letter  from  Herbert  to  Ferrar 
on  his  work,  and  *  Brief  e  Notes  [by  Herbert]  relating  to  the 
dubious  and  offensive  places  in  the  following  considerations.* 
The  licenser  of  the  press  in  his  imprimatur  calls  especial 
attention  to  Herbert's  notes.  In  the  1646  edition  of  Ferrar 's 
Valdezzo  Herbert's  notes  are  much  altered."  {Dictionary  of 
National  Biography^  under  *  George  Herbert.') 

The  Hundred  and  Ten  Considerations  is  a  work  of  ascetic 
piety. 

Divine  Considerations  by  John  Valdesso.  The  English  Trans- 
lation of  Nicholas  Ferrar,  with  George  Herbert's  prefatory  epistle. 
London.  John  Lane.  1905.  Sm.  8vo. 

Edited,  by  Frederick  Chapman,  for  The  Sacred  Treasury 
series y  Vol.  ii. 

John  Valdesso  is  supposed  to  be  Izaak  Walton's  "ingenious 
Spaniard"  who  "says  that  rivers  and  the  inhabitants  of  the 
watery  element  were  made  for  wise  men  to  contemplate,  and 
for  fools  to  pass  by  without  consideration."  (Izaak  Walton, 
The  Compleat  Angler^  Part  i.  Chapter  i.) 

226 

1644.  *S^.  PauVs  Late  Pr ogres  upon  Earth,  About  a  Divorce 
twixt  Christ  and  the  Church  of  RomCy  by  reason  of  her  disso- 
luteness and  excesses.  Recommended  to  all  tender-conscienced 
Christians.  A  fresh  Fancy  full  of  various  strains  and  suitable 


RELIGION  AND  THEOLOGY  289 


to  the  Times.  Rendered  out  of  Italian  into  English  [by  James 
Howell].  Published  by  Authority. 

London.  Printed  by  Richard  Heron  for  Matthew  Wal- 
banck  neare  Grayes  Inne  Gate.  1644.  8vo.  Pp.  xviii4- 
148 +  iv.  British  Museum  (2  copies). 

With  two  prefatory  letters,  the  one  To  Sir  Paul  Pindar, 
Kt.y  upon  the  Version  of  an  Italian  Piece  into  English,  calVd 
St.  PauVs  Progress  upon  Earth;  a  new  and  a  notable  kind  of 
Satire,  dated,  Fleet,  25  Martii  164-6;  the  other  To  Sir  Paul 
Neale,  Kt,  upon  the  same  Subject,  dated.  Fleet,  25  Martii. 

Howell  writes  to  Sir  Paul  Pindar,  —  "  Sir,  among  those 
that  truly  honour  you,  I  am  one,  and  have  been  so  since  I 
first  knew  you;  therefore  as  a  small  testimony  hereof,  I  send 
you  this  fresh  Fancy  composed  by  a  noble  Personage  in  Italian, 
of  which  Language  you  are  so  great  a  Master. 

"For  the  first  part  of  the  Discourse,  which  consists  of  a 
Dialogue  'twixt  the  two  first  Persons  of  the  Holy  Trinity, 
there  are  examples  of  that  kind  in  some  of  the  most  ancient 
Fathers,  as  ApoUinarius  and  Nazianzen;  and  lately  Grotius 
hath  the  like  in  his  Tragedy  of  Christ's  Passion:  Which  may 
serve  to  free  it  from  all  exceptions." 

To  Sir  Paul  Neale  he  says,  —  "  If  you  please  to  observe  the 
manner  of  his  [St.  Paul's]  late  progress  upon  earth,  which 
you  may  do  by  the  guidance  of  this  discom'se,  you  shall  dis- 
cover many  things  which  are  not  vulgar,  by  a  curious  mixture 
of  Church  and  State- Affairs:  You  shall  feel  herein  the  pulse 
of  Italy,  and  how  it  beats  at  this  time  since  the  beginning  of 
these  late  Wars  'twixt  the  Pope  and  the  Duke  of  Parma,  with 
the  grounds,  procedure,  and  success  of  the  said  War;  together 
with  the  Interest  and  Grievances,  the  Pretences  and  Quarrels 
that  most  Princes  there  have  with  Rome." 

The  translation  was  made  during  Howell's  imprisonment 
in  the  Fleet  by  the  Long  Parliament,  a  fact  which  is  alluded 
to  near  the  close  of  this  letter,  —  "Touching  this  present  Ver- 
sion of  Italian  into  English,  I  may  say,  't  is  a  thing  I  did  when 
I  had  nothing  to  do :  'T  was  to  find  something  whereby  to  pass 
away  the  slow  hours  of  this  sad  condition  of  Captivity." 


290  ELIZABETHAN  TRANSLATIONS 


227 

1648.  Saian*s  Stratagems,  or  the  DeviVs  Cabinet-Council 
discovered  .  .  .  together  with  an  epistle  written  by  Mr.  John  Good- 
win and  Mr.  Durie^s  letter  concerning  the  same. 

London.  J.  Macock.  Sold  by  J.  Hancock.  1648.  4to. 
British  Museum.  George  Thomason's  copy,  now  in  the  British 
Museum,  contains  his  correction  of  the  date  to  1647,  and  re- 
cords its  purchase  on  February  14  of  that  year. 

The  translation  contains  three  dedications,  one  to  the  Par- 
liament, one  to  Fairfax  and  Cromwell,  and  one  to  John  Warner, 
lord  mayor. 

The  translator  announced  that  if  his  work  was  well  received 
he  would  complete  it,  but  only  four  of  the  eight  books  were 
published.  The  stock  was  then  sold  apparently  to  W.  Ley,  who 
reissued  it,  with  a  new  title,  — 

Darkness  Discovered,  or  the  DeviVs  Secret  Stratagems  laid 
open,  etc. 

London.  J.M.  1651.  4to.  With  a  doubtfully  authentic  etch- 
ing of  the  Italian  author,  *  James  Acontius,  a  Reverend  Diuine.* 

This  translation  is  an  English  version  of  Jacopo  Aconcio's 
celebrated  work,  — 

Satance  Stratagemata  libri  octo,  J.  Acontio  authore,  accessit 
eruditissima  epistola  de  ratione  edendorum  librorum  ad  Johannem 
Vuolfium  Tigurinum  eodem  authore. 

BasilecB,  ap.  P.  Pernam.  1565.  4to.  The  Dictionary  of 
National  Biography  says  that  this  is  the  genuine  first  edition, 
of  extreme  rarity. 

Brunet  records  an  octavo  edition  of  the  same  year,  place, 
and  publisher,  but  with  a  variant  title:  — 

Jacobi  Acontii  tridentini  de  Stratagematibus  Satance  in 
religionis  negotio  per  superstitionem,  errorem,  hceresim,  odium, 
calumniam,  schisma,  etc.  libri  octo. 

BasilecB.  P.  Perna.  1565.  8vo. 

Reprinted,  Basilece,  1582,  8vo;  and  'curante  Jac.  Grassero,* 
ib.,  1610,  Bvo;  ib.,  ap.  Waldkirchium,  1616;  ib.,  1618;  ib.,  1620; 


RELIGION  AND  THEOLOGY  291 


Amsterdam,  1624;  Oxon.,  G.  Webb,  1631,  sm.  8vo;  London, 
1648,  4to;  Oxon.,  1650,  12mo;  Amsterdam,  Jo.  Ravenstein, 
1652,  sm.  Bvo;  ib.,  1674,  sm.  Svo;  Neomagi,  A.  ah.  Hoogenhuyse, 
1661,  sm.  Svo. 

The  Dedication  of  the  first  edition,  to  Queen  Elizabeth, 
begins,  with  grandiloquent  flattery,  Divce  ElisaheihoBy  etc. 

The  French  translation  was  printed  with  the  same  type  as 
the  Latin  quarto,  but  is  without  the  Epistola  .  ,  ,  ad  Vuolfium 
and  the  index:  — 

Les  Ruzes  de  Satan  receuillies  et  comprinses  en  huit  liures. 

Basle.  P.  Feme.  1565.  4to.  Also,  Delft,  1611,  Svo,  and 
ih.,  1624,  Svo. 

Further,  Bale.  1647.  sm.  Svo  (German  translation),  and 
Amsterdam,  1662,  12mo  (Dutch  translation). 

The  Satance  Stratagemata  is  a  book  which  had  a  consider- 
able influence  in  the  development  of  opinion.  In  all,  I  record 
twenty-one  editions  of  it,  five  of  them  of  English  imprint,  and 
all  of  them  publications  of  about  one  century,  1565-1674,  the 
era  of  the  Reformation.  Aconcio's  argument  was  the  simpH- 
fication  of  dogmatic  theology;  in  general,  he  would  reduce  the 
doctrines  of  Christianity  to  a  strictly  Scriptural  basis.  He 
argued  that  the  numerous  confessions  of  faith  of  different  de- 
nominations were  simply  the  ruses  of  the  Evil  One,  the  *  Strata- 
gems of  Satan,'  to  tempt  men  from  the  truth.  He  protested 
against  capital  punishment  for  heresy,  and  favored  toleration 
among  all  Christian  sects.  Such  liberal  theology  was  distaste- 
ful alike  to  Calvinists,  who  accused  Aconcio  of  Arianism,  and 
to  Catholics,  who  indexed  his  book.  The  Tridentine  Index 
Libh.  Prohibb.  (1569)  places  SatanoB  Stratagemata  among 
anonymous  books,  but  the  Roman  Index  of  1S77  describes  the 
book  accurately. 

228 

1651.  The  Life  of  the  most  Learned  Father  Paul  of  the  Order 
of  the  Servie.  Councellour  of  State  to  the  most  Serene  Republicke 
of  Venice,  and  Author  of  the  History  of  the  Counsell  of  Trent. 
Translated  out  of  Italian  by  a  Person  of  Quality, 


292  ELIZABETHAN  TRANSLATIONS 


London.  1651.  8vo.  British  Museum, 

A  translation  of  Era  Fulgenzio  Micanzio's  Vita  del  Padre 
Paolo  deir  Ordine  de^  Servi,  Leyden.  1646.  12mo.  British 
Museum. 

Pietro  Sarpi  was  born  August  14,  1552,  and  died  January 
15,  1623;  his  father  was  Francesco  Sarpi,  a  native  of  Friuli, 
but  established  in  trade  in  Venice,  and  his  mother  was  Isabella 
Morelli,  a  Venetian.  At  the  age  of  thirteen,  November  24, 
1565,  he  entered  the  order  of  the  Servites,  assuming  the  name 
Paolo  by  which  he  is  known  in  history.  Era  Paolo  studied 
at  Venice,  Mantua,  and  Milan,  and  his  fame  as  a  scholar  grew 
so  great  that  his  convent  assigned  him  an  annual  sum  for  the 
purchase  of  books.  He  took  his  doctor's  degree  at  the  Uni- 
versity of  Padua,  in  1578,  was  elected  Provincial  of  his  order 
in  1579,  and  Procurator,  in  1585,  an  office  which  required 
him  to  live  in  Rome,  where  he  began  to  be  singled  out  as 
a  distinguished  man  in  a  distinguished  circle.  Era  Paolo 
enjoyed  the  friendship  of  the  most  eminent  men  of  his  day, 
of  Galileo  and  Fabrizio,  both  professors  in  the  University  of 
Padua,  of  Casaubon  and  Claude  Peiresc,  of  William  Gilbert 
and  Bishop  Bedell  and  Sir  Henry  Wotton. 

But  having  incurred  the  enmity  of  the  Jesuits  by  a  treatise 
on  Grace  and  Free  Will,  and  of  the  Vatican  by  several  me- 
morials he  had  prepared  on  political  subjects  for  the  Venetian 
Senate,  he  was  twice  refused  a  bishopric  by  Pope  Clement  VIII. 
The  memorials,  however,  made  known  his  poHtical  ability, 
and  on  January  28,  1606,  the  Venetian  Senate  chose  him  to 
be  theologian  and  canonist  to  the  republic;  he  held  this  post  for 
the  remainder  of  his  life. 

Era  Paolo's  mental  range  was  of  that  encyclopaedic  charac- 
ter so  common  among  the  great  Italians  of  the  Renaissance, 
intelligentia  per  cuncta  permeans.  He  studied  Greek,  Hebrew, 
and  Chaldee,  went  through  the  entire  circle  of  the  physical  and 
mathematical  sciences,  extended  his  researches  to  anatomy  and 
medicine,  and  accumulated  a  vast  store  of  historical  knowledge 
which  was  afterwards  of  the  greatest  service  to  him.  The 


RELIGION  AND  THEOLOGY  293 


traces  of  his  researches  are  everywhere.  Foscarini  quotes 
from  a  small  treatise  on  metaphysics,  showing  that  Fra  Paolo 
had  developed  a  theory  of  the  origin  of  ideas  that  is  not  unhke 
that  of  Locke  in  the  Essay  concerning  the  Human  Understanding, 
Giovanni  Battista  della  Porta,  the  author  of  a  book  on  natu- 
ral magic.  Be  Magia  Naturali,  refers  to  Fra  Paolo's  knowledge 
of  magnetic  phenomena  in  words  of  extravagant  admiration. 
In  optics,  Fabrizio,  the  greatest  anatomist  of  the  time,  acknowl- 
edges his  indebtedness  to  Fra  Paolo.  Sir  Henry  Wotton, 
English  ambassador  to  the  republic  of  Venice,  bears  witness 
to  his  studies  in  botany  and  mineralogy.  Withal,  says  Wotton, 
"He  was  one  of  the  humblest  things  that  could  be  seen  within 
the  bounds  of  humanity,  the  very  pattern  of  that  precept, 
*  Quanta  doctior,  tanto  submissior,*'*  Sir  Henry  Wotton's 
chaplain,  William  Bedell,  writing  to  Dr.  Samuel  Warde, 
"St.  Stephen's  Day,"  1607,  refers  to  the  attempt  to  assassi- 
nate Fra  Paolo  in  these  words,  —  "I  hope  this  accident  will 
awake  him  a  little  more,  and  put  more  spirit  in  him,  which  is 
his  only  want."  Galileo  called  him  his  "father  and  master," 
and  declared  that  no  one  in  Europe  surpassed  him  in  mathe- 
matical knowledge. 

In  literature,  Fra  Paolo  is  chiefly  known  by  his  three  his- 
tories, all  of  which  were  translated  into  EngUsh:  —  The  His- 
tory of  the  Council  of  Trent,  in  1620;  The  History  of  the  Quarrels 
of  Pope  Paul  V  with  the  State  of  Venicey  in  1626;  and  The  History 
of  the  Inquisition,  in  1639.  These  histories  made  Father  Paul 
extremely  popular  in  England,  where  he  seems  to  have  been 
accepted  as  at  least  a  good  hater  of  the  Pope.  He  was 
not,  however,  a  protestant;  he  was  simply  a  great  statesman. 
Gibbon,  referring  to  his  histories,  calls  him  the  *  worthy  suc- 
cessor of  Guicciardini  and  MachiaveUi.'  He  was  Machiavelli's 
successor  politically. 

One  of  the  most  interesting  facts  about  Fra  Paolo  is  his 
relation  to  the  discovery  of  the  circulation  of  the  blood.  He 
himself  speaks  of  the  discovery  in  this  way,  — 

"As  to  your  exhortations,  I  must  tell  you  that  I  am  no 


294  ELIZABETHAN  TRANSLATIONS 


longer  in  a  position  to  be  able,  as  heretofore,  to  relieve  my 
hours  of  silence  by  making  anatomical  observations  on  lambs, 
kids,  calves,  or  other  animals;  if  I  were,  I  should  be  now 
more  than  ever  desirous  of  repeating  some  of  them,  on  account 
of  the  noble  present  you  have  made  me  of  the  great  and  truly 
useful  work  of  the  illustrious  Vesale.  There  is  really  a  great 
analogy  between  the  things  already  remarked  and  noted  down 
by  me  {avvertite  e  registrate)  respecting  the  motion  of  the  blood 
in  the  animal  body,  and  the  structure  and  use  of  the  valves, 
and  what  I  have,  with  pleasure,  found  indicated,  though  with 
less  clearness,  in  Book  vii,  Chapter  9,  of  this  work." 

See  fragment  of  a  letter  preserved  by  Francesco  Grisellini, 
in  his  Del  Genio  di  Fra  Paolo  in  ogni  facolta  scientifica  e  nelle 
doitrine  ortodosse  tendenti  alia  difesa  delV  originario  diretto  de^ 
Sovrani  (Venice.  1785.  8vo.  Revised  Edition). 

Fra  Paolo's  life  was  written  by  his  secretary  and  successor 
in  the  office  of  theologian  to  the  Republic,  Fra  Fulgenzio 
Micanzio.  Upon  this  point  Fra  Fulgenzio  says,  — 

"There  are  many  eminent  and  learned  physicians  still  liv- 
ing, who  know  that  it  was  not  Fabricius  of  Aquapendente 
but  Fra  Paolo  Sarpi  who,  considering  the  weight  of  the  blood, 
came  to  the  conclusion  that  it  would  not  continue  stationary 
in  the  veins  without  there  being  some  barrier  adequate  to 
retain  it,  and  which  by  opening  and  shutting  should  afford 
the  motion  necessary  to  life.  Under  this  opinion  he  dissected 
with  ever  greater  care  and  found  the  valves.  Of  these  he 
gave  an  account  to  his  friends  in  the  medical  profession,  par- 
ticularly to  d'  Aquapendente,  who  acknowledged  it  in  his 
public  lectures,  and  it  was  afterwards  admitted  in  the  writings 
of  many  illustrious  men.'* 

Fabrizio  d'  Aquapendente  was  professor  of  anatomy  and 
surgery  in  the  University  of  Padua,  where  William  Harvey 
took  his  degree  as  doctor  of  physic,  in  1602,  after  a  four 
years'  course.  Of  Harvey's  connection  with  the  original  dis- 
covery, Pietro  Gassendi,  in  his  life  of  Peiresc,  gives  this  ac- 
count, — 


RELIGION  AND  THEOLOGY  295 


"William  Harvey,  an  English  physician,  had  lately  [1628] 
published  an  excellent  book  on  the  course  of  the  blood  in  the 
body;  and  among  other  arguments  in  favour  of  his  views 
had  appealed  to  the  valves  of  the  veins  of  which  he  had  heard 
something  from  d'  Aquapendente,  but  of  which  the  real  dis- 
coverer was  Sarpi  the  Servite.  On  this  he,  Peiresc,  desired 
to  be  furnished  with  the  book,  and  to  have  an  opportunity  of 
examining  the  valves  of  the  veins,  the  pores  of  the  septum, 
denied  by  Harvey,  and  various  other  matters  of  which  I 
myself  will  satisfy  him."  (Vita  viri  Ulustri  Claudii  de  Peiresc, 
Paris.  1641.  4to.) 

It  would  seem  from  this  contemporary  testimony  that  the 
original  idea  of  the  circulation  of  the  blood  was  one  of  Sarpi's 
sublime  glimpses  into  things,  and  that  what  Harvey  did  was 
to  make  the  discovery  available  to  science  by  tracing  it  to  its 
consequences.  (Biografia  di  Fra  Paolo  Sarpi,  Par  A.  Bianchi- 
Giovini.  2  vols.  Zurich.  1836.  Westminster  Review^  Vol.  xxxi, 
p.  146,  1838.  William  Harvey.  A  History  of  the  Discovery 
of  the  Circulation  of  the  Blood,  Robert  WiUis.  London.  1878. 
Pp.  107-08.) 

For  a  curious  and  interesting  story  regarding  the  remains 
of  Fra  Paolo,  see  Count  Ugo  Balzani,  in  the  Rendiconti  delta 
R,  Accademia  dei  Lincei,  noticed  in  The  Nation,  Vol.  62,  No. 
1605,  April  2,  1896. 

229 

1657.  A  Dialogue  of  Polygamy,  written  originally  in  Italian: 
rendered  into  English  by  a  Person  of  Quality,  etc.  {A  Dialogue 
of  Divorce,  etc.)  2  pts. 

London.  1657.  12mo.  British  Museum. 

These  two  dialogues,  with  others,  were  published  in  Latin, 
in  1563, — 

Bernardini  Ochini  Dialogi  XXX.  in  duos  lihros  divisi,  quo- 
rum primus  est  de  Messia  [continet  dialogos  xviij.]  .  .  .  Secundus 
est  cum  aliis  de  rebus  variis,  turn  potissimum  de  Trinitate. 

Basilece.  Per  Petrum  Pernam.  1563.  8vo.  2  vols.  British 
Museum  (2  copies). 


296  ELIZABETHAN  TRANSLATIONS 


The  two  dialogues  on  marriage  of  this  collection  stirred  up 
the  most  bitter  hostility  against  Ochino.  Dialogue  twenty- 
one  advocated  bigamy  at  least,  and,  if  its  reasoning  is  sound, 
there  would  seem  to  be  no  moral  bound  to  the  number  of  a 
man's  wives,  except  his  inclination  and  means.  A  French 
writer  states  Ochino's  reasoning  very  naively,  — 

"Un  homme  marie  qui  a  une  femme  sterile,  infirme  et 
d'humeur  incompatible,  doit  d'abord  demander  a  Dieu  la 
continence.  Si  ce  don,  demand^  avec  foi,  ne  pent  s'obtenir, 
il  pent  suivre  sans  p6ch4  Tinstinct  qu'il  connaitra  certaine- 
ment  venir  de  Dieu,  et  prendre  une  seconde  femme  sans 
rompre  avec  la  premiere." 

This  was  astonishing  doctrine  to  be  put  forth  by  the  most 
popular  preacher  of  the  time,  and  the  stout  Swiss  burghers 
would  none  of  it.  They  promptly  expelled  Ochino  from 
Switzerland.  Theodore  de  Beze,  who  had  been  his  friend, 
replied  to  the  two  dialogues  in  a  formal  tract,  — 

Tractatio  de  Polygamia  et  Divortiis,  in  qua  et  Ochini  pro 
polygamiay  et  Montanistorum  ac  aliorum  adversus  repetitas  nup- 
tiaSy  refutantur;  et  plerceque  in  causis  matrimonialibuSy  quas 
vocant,  incidentes  controversioB  ex  verho  Dei  deciduntur.  Ex  T. 
Bezce  praslectiombus  in  prior  em  ad  Corinthios  Epistolam. 

Geneva.  1568.  8vo.  British  Museum. 

For  a  brief  accoimt  of  Bernardino  Ochino,  see  Five  Sermxms 
(1547). 

230 

T  1855.  [1548.  MS.]  The  Benefit  of  Christ's  Death:  proba- 
bly written  by  A.  Paleario  :  reprinted  in  facsimile  from  the 
Italian  edition  of  154S;  together  with  a  French  translation 
printed  in  1551.  .  .  .  To  which  is  added  an  English  version 
made  in  1548  by  E.  Courtenay^  Earl  of  Devonshire,  now  first 
edited  from  a  MS.  .  .  .  with  an  introduction  by  C.  Babington, 
Ital.  Fr.  and  Eng. 

London,  Cambridge.  Printed  1855.  8vo.  British  Museum. 
The  Benefit  of  Christ* s  Death  is  a  translation  of 


RELIGION  AND  THEOLOGY  297 


Trattato  utilissimo  del  Beneficio  di  Giesii  Christo  Crocifisso 
verso  i  Christiani. 

(Venetiisy  apud  Bernardinum  de  Bindonis.  Anno  Do.  1543). 

The  work  was  attributed  to  Antonio  dalla  Paglia,  commonly 
called  Aonio  Paleario.  It  was  considered  to  be  an  apology  for 
the  reformed  doctrines,  and  was  proscribed  in  Italy.  Courtenay 
translated  it  while  imprisoned  in  the  Tower,  apparently  to 
conciliate  Edward  VI,  his  second  cousin.  He  dedicated  it  to 
Anne  Seymour,  Duchess  of  Somerset. 

The  manuscript  is  now  in  the  Library  of  Cambridge  Uni- 
versity, to  which  it  was  presented  in  1840;  it  contains  two 
autographs  of  Edward  VI. 

There  is  also  a  later  Elizabethan  translation  of  this  work, 
attributed  to  Arthur  Golding,  — 

The  Benefite  that  Christians  receyue  hy  Jesus  Christ  crucify ed, 
[By  A.  P.]  Translated  .  .  .  into  English,  by  A.  O.[olding?] 

T.  East,  for  L.  Harison  and  G.  Bishop.  London.  1573.  8vo. 
British  Museum.  [1575?]  8vo.  British  Museum.  1580.  8vo. 
British  Museum. 

M.  Young,  in  The  Life  and  Times  of  Aonio  Paleario,  or  A  His- 
tory of  the  Italian  Reformers  in  the  Sixteenth  Century  (London, 
1860),  prints,  at  page  567,  Appendix,  Benjamin  B.  Wiflen's 
list  of  31  known  editions  of  the  Beneficio  di  Giesii  Christo 
Crocifisso,  in  Italian,  French,  English,  German,  Dutch,  and 
Sclavonic.  La  Grande  Encyclopedic  says  the  Beneficio  was 
written  by  Benedetto  da  Mantua. 

It  is  interesting  to  note  that  the  Beneficio  di  Giesii  Christo 
Crocifisso  was  put  in  the  Index  Expurgatorius  by  Giovanni 
della  Casa,  author  of  Galateo,  who  was  at  the  time  (1549) 
Papal  Nuncio  to  Venice. 


VI 

SCIENCE  AND  THE  ARTS 


VI 


SCIENCE  AND  THE  ARTS 
231 

1543.  The  most  excellent  workes  of  chirurgeryey  made  and 
set  forth  by  Maister  John  Vigon,  heed  Chirurgien  of  our  tyme 
in  Italie,  translated  into  English  [by  Bartholomew  Traheron]. 
Whereunto  is  added  an  exposition  of  straunge  termes  and  un- 
knowen  symples,  helongyng  to  the  arte. 

London.  E.  Whytchurch.  1543.  Folio.  British  Museum. 
Also  [London]  1550.  Folio.  British  Museum.  1571.  Folio. 

The  whole  worke  of  that  famous  chirurgion  Maister  John  Vigo 
[Joannes  de  Vigo].  Newly  corrected,  by  men  skilfull  in  that  Arte 
[namely,  George  Baker  and  Robert  Norton].  Whereunto  are 
annexed  certain  works  compiled  and  published  by  Thomas  Gale, 
Maister  in  Chirurgerie.  {Certaine  Workes  of  Galens,  called 
Methodus  medendi,  with  *a  brief e  declaration  of  the  .  .  .  art  of 
Medicine,  the  office  of  a  Chirurgion,  and  an  epitome  of  the  third 
booke  of  Galen,  of  Naturall  faculties:  .  .  .  all  translated  by 
Thomas  Gale.) 

London.  T.  East.  1586.  4to.  3  pts.  Black  letter.  British 
Museum. 

The  earliest  edition  of  Giovanni  da  Vigo  that  I  find  is, — 

Practica  in  arte  chirurgica  copiosa  continens  novem  libros. 

[Rome,  per  Stephanum  Guillereti  et  Herculem  Bononiensem. 
.  .  .  1514.]  Folio.  Index-Catalogue  of  the  Library  of  the  Sur- 
geon-GeneraV s  Office,  United  States  Army,  Vol.  xv,  1894. 

Giovanni  da  Vigo  was  physician  to  Pope  Julius  II. 

George  Baker,  1540-1600,  was  a  member  of  the  Barber 
Surgeons'  Company,  of  which  he  was  elected  master,  in  1597. 
Early  in  life  he  was  attached  to  the  household  of  the  Earl  of 
Oxford,  an  introduction,  which,  together  with  his  ability, 
enabled  him  to  build  up  a  considerable  practice  in  London. 


302  ELIZABETHAN  TRANSLATIONS 


He  did  not  believe  in  close  translation,  for  in  the  preface  of 
The  Newe  Jewell  of  Health  (1576),  a  translation  of  Conrad 
Gesner's  Evonymus,  he  says,  "if  it  were  not  permitted  to 
translate  but  word  for  word,  then  I  say,  away  with  all  trans- 
lations." 

Nor  did  he  approve  of  telling  too  much.  "As  for  the  names 
of  the  simples,  I  thought  it  good  to  write  them  in  Latin  as 
they  were,  for  by  the  searching  of  their  English  names  the 
reader  shall  very  much  profit;  and  another  cause  is  that  I 
would  not  have  every  ignorant  asse  to  be  made  a  chirurgian 
by  my  book,  for  they  would  do  more  harm  with  it  than  good." 

232 

1558.  The  Secretes  of  the  reverende  maister  Alexis  of  Pie- 
mount,  Containyng  excellente  remedies  against  divers  diseases, 
woundeSf  and  other  accidentes,  with  the  maner  to  make  dystilla- 
tionSy  parfumes.  .  .  .  Translated  out  of  Frenche  into  Englishe, 
by  Wyllyam  Warde. 

J.  Kingstone,  for  N.  Inglande,  London,  1558.  4to.  Black 
letter.  (Part  I  only.)  British  Museum. 

There  is  another  edition,  printed  by  H.  Sutton,  dwelling  in 
Paternoster  rowe  at  the  signe  of  the  black  Moryan,  Londini, 
Anno  1559.  Also,  imprinted  for  J.  Wight,  Londiniy  1559. 

These  editions  were  dedicated  to  Francis  Russell,  2d  Earl 
of  Bedford.   1580  (Part  I).  1615  (Part  I,  W.  Stansby). 

The  first  part  of  the  Secretes  is  usually  bound  with 

The  Second  Parte  of  the  Secrets  of  Maister  Alexis  of  Piemont. 
Translated  by  Will.  Warde. 

No  date.  Black  letter.  4to.  1560.  Black  letter.  4to. 
British  Museum.  1563. 

This  is  usually  followed  by 

The  thyrde  and  last  parte  of  the  Secretes  of  the  Reverende 
Maister  Alexis  of  Piemont.  Englished  by  Wyllyam  Warde. 
(Six  books,  like  the  first  part.) 

1562.  Black  letter.  4to.  British  Museum.  1566.  1588. 
1615. 


SCIENCE  AND  THE  ARTS  303 


In  many  copies  of  the  book  a  fourth  and  fifth  part  are 
added.  I  add  the  title  of  the  fourth  *booke'  translated  from 
the  Italian  by  Richard  Androse. 

A  verye  excellent  and  profitable  Booke  eonteining  size  hundred 
foure  score  and  odde  experienced  Medicines^  apperteyning  unto 
Phisick  and  Surgerie,  long  tyme  practysed  of  the  expert  .  .  . 
Mayster  Alexis,  which  he  termeth  the  fourth  and  finall  booke  of 
his  secretes,  and  which  in  hys  latter  dayes  hee  dyd  publishe.  .  .  . 
Translated  out  of  Italian  into  Englishe  by  Richard  Androse. 

Imprinted  at  London  by  Henry  Denham.  (Parts  HI  and 
IV.)  1569.  4to.  Black  letter.  (Bound  with  The  Secretes  of 
the  reverende  Maister  Alexis  of  Piemount.  .  .  .  H.  Bynneman, 
for  J.  Wight.  London.  1566-68.  4to.  Black  letter.)  British 
Museum.  Also,  London.  1580-78.  4to.  Black  letter.  J. 
Kyngston,  for  J.  Wight.  {The  fourth  .  .  .  booke.  Part  3  was 
printed  by  T.  Dawson.)  British  Museum. 

The  original  of  this  book  appeared,  in  a  second  edition, 
in  1557. 

Be  secreti  del  reverendo  donno  A.  P.  prima  parte,  divisa  in 
sei  libri.  Seconda  editione. 

Venetia.  1557.  4 to.  British  Museum. 

La  seconda  Parte  de  i   Secreti  di  diversi  excellentissimi 
Huomini,  nuovamente  raccolti,  e  .  .  .  stampati. 
Milano.  1558.  8vo.  British  Museum. 
The  French  version,  from  which  Ward  translated,  is,  — 
Les  Secrets  de  Reverend  Signeur  Alexis  Piemontois.  Con- 
tenans  excellens  remedes  contre  plusieurs  maladies.  .  .  .  Traduit 
d^Italien  en  Frangois.  [Part  I.] 

Anvers.  1557.  4to.  British  Museum.  [Printed  in  Italics.] 
The  Secretes  of  Alexis  of  Piemount  is  a  sort  of  pharmaco- 
poeia, or  dispensatory,  and  contains  not  only  medical  formulae, 
but  formulse  for  cosmetics,  perfumes,  and  soaps.  One  pre- 
scription was  warranted  to  make  old  women  young  again. 
Alessio  Piemontese  has  been  confounded  with  the  learned 
Girolamo  Ruscelli  (d.  1556,  aged  forty-five),  who  among  his 
numerous  works,  wrote  Segreti  nuovi  (Venice,  1557,  8vo). 


304  ELIZABETHAN  TRANSLATIONS 

A  flash  of  ironic  humor  in  the  tedious  Smectymnuan  con- 
troversy shows  the  repute  of  The  Secretes  of  the  reverende 
maister  Alexis  as  late  as  the  Civil  War.  Smectymnuus,  reply- 
ing to  the  Humble  Remonstrance  of  Bishop  Hall  in  favor  of 
episcopacy  (1641),  unluckily  spoke  of  the  judges  on  Mars' 
Hill  as  *Areopagi,'  instead  of  *Areopagitse.'  "Who  are 
these? "  asked  the  Bishop.  "Truly,  my  masters,  I  had  thought 
this  had  been  a  place,  not  the  men."  Smectymnuus  retorts  by 
holding  up  to  scorn  a  choice  bit  of  episcopal  English,  namely, 
"These  other  verbal  exceptions  are  but  light  froth  and  will 
sink  alone. 

"A  gentleman  student  in  Philosophy"  calls  upon  the 
Humble  Remonstrant  to  publish  his  recipe  for  making  "  light 
froth  sink  alone,"  in  order  "that  it  may  be  added  to  the 
Secrets  of  Alexis  or  the  rare  experiments  of  Baptista  Porta." 

233 

[1560?]  A  news  hooke,  containing  the  arte  of  ryding,  and 
hreakinge  greate  Horses^  together  with  the  shapes  and  Figures 
of  many  and  divers  kyndes  of  Byttes,  mete  to  serue  diners 
mouthes.  Very  necessary  for  all  Gentlemen,  Souldyours,  Ser- 
uingmen,  and  for  any  man  that  delighteth  in  a  horse. 

London.  Imprinted  by  Wyllyam  Seres  dwellinge  at  the 
West  ende  of  Poules,  at  the  signe  of  the  Hedgehogge.  [1560?] 
8vo.  Black  letter.  British  Museum. 

This  is  merely  a  separate,  and  earlier,  issue  of  the  second 
tract  in  Blundeville's  work,  entitled,  — 

The  fower  chiefyst  offices  belonging  to  Horsemanshippe.  That 
is  to  sayCy  the  office  of  the  Breeder,  of  the  Rider,  of  the  Keper, 
and  of  the  Ferrer.  In  the  firste  part  whereof  is  declared  the  order 
of  hreding  of  horses.  In  the  seconde  howe  to  breake  them  and 
to  make  theym  horses  of  seruyce.  Conteyning  the  whole  arte  of 
Ridynge  lately  set  forth,  and  nowe  newly  corrected  and  amended 
of  manye  faultes  escaped  in  the  fyrste  printynge,  as  well  touch- 
yng  the  bittes  as  otherwyse.  Thirdly,  how  to  dyet  them,  as  well 
when  they  reste  as  when  they  trauell  by  the  way.  .  .  .  Fourthly ,  to 


SCIENCE  AND  THE  ARTS  305 


what  diseases  they  he  subiede,  together  with  the  causes  of  such 
diseases f  the  sygnes  howe  to  hnowe  them,  and  finally  howe  to  cure 
the  same.  Whyche  bookes  are  not  onely  paynfully  collected  out  of 
a  nomber  of  aucthours,  but  also  orderly  dysposed  and  applyed 
to  the  use  of  thys  our  coutry.  By  Thomas  Blundeuill  of  New- 
ton-Flotman  in  Norff. 

No  date.  4 to.  Black  letter.  Each  part  has  a  separate  title 
and  signatures.  Part  III,  *the  Order  of  Dietynge  of  Horses,' 
is  dated  1565  on  the  title-page,  and  Part  IV  is  dated  1566. 
The  general  title-page  and  the  title-pages  of  the  first  two 
parts  bear  no  date.  Later  editions  were  published  in  1580, 
1597,  and  1609. 

The  original  work  by  Federico  Grisone  is, — 

Gli  ordini  di  cavalcare. 

Giouan  Paolo  Suganappo.  NapolL  1550.  4to.  Twenty-five 
woodcuts  of  bits. 

Ordini  di  cavalcare,  et  modi  di  conoscere  le  nature  de'  cavalli, 
emendare  i  vitii  loro,  &  ammaestrargli  per  V  uso  della  guerra, 
<Sc  commodita  degli  huomini.  Con  le  figure  di  diversi  sorti  di 
morsi,  secondo  le  bocche  &  maneggiamenti  de  cavalli. 

Pesaro.   1556.  4to.  Both  in  the  British  Museum. 

Dedicated  to  Lord  Robert  Dudley. 

The  first  work  in  English  on  equitation.  It  was  abridged 
from  Federico  Grisone,  by  Thomas  Blundeville,  at  the  sug- 
gestion of  John  Astley.  Chapter  xix  is  headed,  "How  to 
make  your  horse  abide  both  staffe,  sworde,  great  noyse,  gon- 
shot,  or  any  other  thing."  The  cuts  are  copied  from  the  Italian 
editions. 

See  John  Astley 's  The  Art  of  Riding  (1584). 

234 

1560.  The  Arte  of  warre,  written  first  in  Italian  by  N.  Mac- 
chiavelU  and  set  forthe  in  Englishe  by  P.[eter]  Whitehorne  Stu- 
dient  in  Graies  Inne:  .  .  .  with  an  Addicion  of  other  like  Marcialle 
Feates  and  Experimentes,  as  in  a  Table  in  the  Ende  of  the  Booke 
maie  appere.  Anno  M.D.L.X.  Menfs.  Julij. 


306  ELIZABETHAN  TRANSLATIONS 


Imprinted  at  London  by  John  Kingston  for  Nicholas  Eng- 
lande,  1560-62.  4to.  Black  letter.  2  parts.  Title-page  ele- 
gantly cut  on  wood  by  W.  S.  British  Museum.  Bodleian. 

The  Arte  of  Warre.  Newly  imprinted^  with  other  additions. 

Imprinted  at  London  by  W.  Williamson  for  Jhon  Wight, 
1573-74.  4to.  Black  letter.  2  parts.  British  Museum  (2 
copies).  War  Office  Library. 

The  Arte  of  Warre.  Newly  imprinted,  with  other  additions. 

Imprinted  at  [London]  by  Thomas  East  for  Ihon  Wight, 
1588.  4to.  Black  letter.  2  parts.  British  Museum.  Bodleian, 
Library  of  Royal  Artillery  Institute. 

The  Table,  printed  at  the  end  of  the  editions  of  1560,  1573, 
and  1588,  is  a  treatise  by  Whitehorne,  entitled,  — 

Certain  Waies  for  the  orderyng  of  Souldiers  in  hattelray,  & 
settyng  of  battailes,  after  diuers  fashions,  with  their  maner  of 
marchyng:  And  also  Fygures  of  certaine  new  plattes  for  fortifi- 
cation of  Townes  :  And  more  ouer,  howe  to  make  Saltpeter,  Gun- 
poulder,  and  diuers  sortes  of  Fireworhes  or  wilde  Fyre,  with 
other  thynges  apertaining  to  the  warres.  Gathered  and  set  foorthe 
by  Peter  Whitehorne. 

It  furnishes  information  on  subjects  not  discussed  by  Machi- 
avelli,  for  example,  on  fortification,  on  the  manufacture  of 
gunpowder,  saltpetre,  fireworks,  etc.  This  information  is  col- 
lected chiefly  from  Italian  writers  on  military  affairs.  A  chap- 
ter on  signalling  is  based  on  the  ancient  systems  of  iEneas 
Tactions  and  Poly  bins. 

Machiavelli.  With  an  Introduction  by  Henry  Oust.  M.P. 
Volume  I.  The  Art  of  War.  Translated  by  Peter  Whitehorne. 
1560.  The  Prince.  Translated  by  Edward  D acres.  1640.  Tudor 
Translations,  xxxix.  1905. 

A  translation  of  Libro  dell*  arte  delta  guerra  di  Niccolb  Machi- 
avegli,  etc.  [In  seven  books,  dedicated  to  Lorenzo  Sirozzi.] 

Firenze.  Per  li  Heredi  di  Philippo  di  Giunta.  1521.  Svo. 
British  Museum. 

An  Italian  edition  dated,  "Palermo,  A.  Antonelli,  1587," 
was  "probably  printed  secretly  in  London  by  John  Wolfe 


SCIENCE  AND  THE  ARTS  307 


before  28  Jan.  1584.**  {A  Bibliography  of  English  Military 
Books  up  to  161^2  and  of  Contemporary  Foreign  Works.  By- 
Maurice  J.  D.  Cockle,  p.  135.) 

The  Arte  of  Warre  is  dedicated  "To  the  most  high  and  ex- 
cellent Princes  Elizabeth,  by  the  grace  of  God  Queene  of 
England,  Frannce,  and  Ireland,  defender  of  the  Faith,  and 
of  the  Church  of  England,  and  Ireland,  on  Earth  next  under 
God  the  supreme  Governour." 

In  the  Dedication  Whitehorne  explains  how  he  came  to 
make  the  translation,  — 

"When  therefore,  about  ten  yeares  past,  in  the  Emperour's 
warre's  against  the  Mores  and  certain  Turkes,  being  in  Bar- 
baric: at  the  siege  and  winning  of  CaHbbia,  Monasterio,  and 
Affrica,  I  had  as  well  for  my  further  instruction  in  those 
affaires,  as  also  the  better  to  acquaint  mee  with  the  ItaUan 
tongue,  reduced  into  English,  the  book  called  The  arte  of 
Warre,  of  the  famous  and  excellent  Nicholas  Machiavel, 
which  in  times  past,  he  being  a  counsailour,  and  Secretairie 
of  the  noble  citie  of  Florence,  not  without  his  great  laud  and 
praise  did  write :  and  having  lately  againe,  somewhat  perused 
the  same,  the  which  in  such  continuall  broyles,  and  unquietnes, 
was  by  me  translated,  I  determined  with  my  selfe,  by  publish- 
ing thereof,  to  bestow  as  great  a  gift  (since  greater  I  was  not 
able)  amongst  my  countrie  men,  not  expert  in  the  Italian 
tongue,  as  in  like  works  I  had  scene  before  mee,  the  French- 
men, Dutchmen,  Spaniardes,  and  other  forreine  nacions,  most 
lovingly  to  have  bestowed  among  theirs." 

The  Art  of  War  is  written  in  the  form  of  a  dialogue.  Machi- 
avelli  supposes  that  Fabrizio  Colonna,  a  powerful  Roman 
nobleman  in  the  service  of  the  King  of  Spain,  stops  in  Florence 
on  his  way  home  from  the  wars  in  Lombardy.  There  he  is 
invited  by  Cosmo  di  Rucellai  to  spend  a  day  with  him  in  the 
celebrated  Gardens  of  the  Rucellai  family.  The  three  other 
interlocutors,  friends  of  Cosmo,  are  Zanobi  Buondelmonti, 
Battista  dalla  Palla,  and  Luigi  Alamanni,  the  Florentine  poet. 
The  gentlemen  discuss  with  Fabrizio  the  art  of  war,  comparing 


308  ELIZABETHAN  TRANSLATIONS 


the  Swiss  and  Spanish  troops,  then  considered  the  best  soldiers 
in  Europe;  the  Swiss,  armed  with  pikes,  and  fighting  Uke  the 
ancients  in  regiments  of  six  or  eight  thousand  foot  drawn  up 
in  close  order  (the  Macedonian  phalanx),  and  the  Spaniards, 
armed  with  sword  and  buckler.  Machiavelli,  in  the  character 
of  Fabrizio,  preferred  the  Spanish  soldier,  because  the  Swiss 
footmen  could  only  cope  well  with  horse,  while  the  Spanish 
troops  knew  how  to  deal  with  both  horse  and  foot.  He 
ascribes  the  superiority  of  the  Swiss  to  their  ancient  institu- 
tions and  to  the  want  of  cavalry,  and  that  of  the  Spaniards 
to  necessity,  because  as  they  largely  carried  on  their  wars  in 
foreign  parts,  they  were  compelled  either  to  conquer  or  to  die. 

As  to  the  horse  and  foot  of  an  army,  Machiavelli  advises 
that  cavalrymen  be  recruited  out  of  the  towns,  and  infantry 
out  of  the  country.  He  thinks  that  the  main  strength  of  an 
army  consists  in  the  infantry,  although  he  admits  that  cavalry- 
men were  highly  disciplined  in  his  time,  that  they  were,  if  not 
superior,  at  least  equal  to  the  cavalry  of  the  ancients.  Cavalry 
cannot  march  on  all  roads,  they  are  slower  in  their  motions, 
and  they  cannot  rally  so  quickly  as  infantry  when  thrown 
into  confusion.  He  attaches  little  importance  to  the  invention 
of  gunpowder  which  indeed  was  largely  used  at  that  time  for 
charging  cannon;  he  calls  attention  to  the  clumsiness  of  heavy 
artillery  in  battle,  and  says  that  small  cannon  and  musket- 
shot  do  more  execution  than  artillery 

Machiavelli  has  the  strongest  admiration  for  the  Roman 
military  system.  "It  is  vain,"  he  says,  "to  think  of  ever 
retrieving  the  reputation  of  the  Italian  arms  by  any  other 
method  than  what  I  have  prescribed,  and  by  the  cooperation 
of  some  powerful  Princes  in  Italy:  for  then  the  ancient  dis- 
cipline might  be  introduced  again  amongst  raw  honest  men 
who  are  their  own  subjects;  but  it  never  can  amongst  a  parcel 
of  corrupted,  debauched  rascals  and  foreigners." 

"Before  our  Italian  Princes  were  scourged  by  the  Ultra- 
montanes,  they  thought  it  sufficient  for  a  Prince  to  write  a 
handsome  letter,  or  return  a  civil  answer;  to  excel  in  drollery 


SCIENCE  AND  THE  ARTS  309 


or  repartee;  to  undermine  and  deceive;  to  set  themselves  off 
with  jewels  and  lace;  to  eat  and  sleep  in  greater  magnificence 
and  luxury  than  their  neighbors;  to  spend  their  time  in  wanton 
pleasures;  to  keep  up  a  haughty  kind  of  State,  and  grind  the 
faces  of  their  subjects;  to  indulge  themselves  in  indolence  and 
inactivity;  to  dispose  of  their  military  honors  and  preferments 
to  pimps  and  parasites;  to  neglect  and  despise  merit  of  every 
kind;  to  browbeat  those  that  endeavored  to  point  out  any- 
thing that  was  salutary  or  praiseworthy;  to  have  their  words 
and  sayings  looked  upon  as  oracles;  not  foreseeing  (weak  and 
infatuated  as  they  were)  that  by  such  conduct  they  were  mak- 
ing a  rod  for  their  own  backs,  and  exposing  themselves  to  the 
mercy  of  the  first  invader." 

Julius  Caesar,  Alexander,  and  other  great  princes,  fought 
at  the  head  of  their  own  armies,  marched  with  them  on  foot, 
and  carried  their  own  arms;  and  if  any  of  them  ever  lost  power, 
he  lost  his  life  with  it,  and  died  with  reputation  and  glory. 

I  add  a  few  ideas  and  maxims  to  show  the  quality  of  this 
celebrated  book. 

On  Pensions.  Pensioning  is  "a  very  corrupt  custom."  "So 
likewise  a  Prince,  if  he  would  act  wisely,  should  not  allow  a 
pension  or  stipend  to  any  one  in  time  of  peace,  except  by  way 
of  reward  for  some  signal  piece  of  service,  or  in  order  to  avail 
himself  of  some  able  man  in  time  of  peace  as  well  as  war." 
(Book  I.) 

On  Oratory.  "It  is  necessary  that  a  General  should  be  an 
Orator  as  well  as  a  Soldier;  for  if  he  does  not  know  how  to 
address  himseK  to  the  whole  army,  he  will  sometimes  find  it 
no  easy  task  to  mould  it  to  his  purpose."  Alexander  is  cited 
as  an  example.  (Book  iv.) 

"Few  men  are  brave  by  nature;  but  good  discipline  and 
experience  make  many  so."  (Book  vii.) 

"Good  order  and  discipline  in  an  army  are  more  to  be 
depended  upon  than  courage  alone."  (Book  vii.) 

"Men,  arms,  money,  and  provisions,  are  the  sinews  of  war; 
but  of  these  four,  the  first  two  are  most  necessary :  for  men  and 


310  ELIZABETHAN  TRANSLATIONS 


arms  will  always  find  money  and  provisions;  but  money  and 
provisions  cannot  always  raise  men  and  arms."  (Book  vii.) 

Conclusion.  "I  will  venture  to  affirm,  that  the  first  state  in 
Italy  that  shall  take  up  this  method,  and  pursue  it,  will  soon 
become  master  of  the  whole  Province,  and  succeed  as  Philip 
of  Macedon  did;  who  having  learnt  from  Epaminondas  the 
Theban  the  right  method  of  forming  and  disciplining  an  army, 
grew  so  powerful,  whilst  the  other  States  of  Greece  were  buried 
in  indolence  and  luxury,  and  wholly  taken  up  in  plays  and 
banquets,  that  he  conquered  them  all  in  a  few  years,  and  left 
his  Son  such  a  foundation  to  build  upon,  that  he  was  able  to 
subdue  the  whole  world."  (Book  vii.) 

It  will  be  seen  that  the  Art  of  War  is  a  carefully  considered 
treatise  on  the  military  arm  of  government.  Machiavelli  be- 
lieved that  the  feebleness  of  Italy  as  a  military  power  was  due 
to  the  system  of  mercenary  soldiers  which  was  first  introduced 
by  the  despots,  and  then  adopted  by  the  commercial  republics, 
and  favored  by  the  Church.  The  only  way  by  which  the 
Italians  could  recover  their  freedom  was  through  the  organi- 
zation of  a  national  militia,  and  the  particular  organization  he 
had  in  mind  was  an  adaptation  of  the  principles  of  Roman 
tactics  to  modern  conditions. 

The  fine  peroration,  promising  the  crown  to  that  Italian 
state  which  should  arm  its  citizens  and  take  the  lead  in  the 
peninsula,  sounds  like  a  prophecy  of  Piedmont,  which  in  our 
own  time  has  brought  about  Italian  nationality  much  along 
the  lines  laid  down  by  Machiavelli. 

235 

1562.  The  Castel  of  Memorie:  wherein  is  conteyned  the 
restoryng,  augmentyng,  and  conservyng  of  the  Memorye  and 
Rememhraunce:  with  the  safest  remedies  and  best  preceptes  there- 
unto in  any  wise  apperteyning.  Made  by  Gulielmus  Gratarolus 
BergomatiSy  Doctor  of  Artes  and  Phisike.  Englished  by  Willyam 
Fulwod.  The  Contentes  whereof  appear  in  the  page  next  foloW' 
inge.  Post  tenebras  lux. 


SCIENCE  AND  THE  ARTS  311 


Printed  at  London  by  Rouland  Hall,  dwellynge  in  Gutter- 
Lane  at  the  signe  of  the  Half  Egle  and  the  Keye.  1562. 
12mo.  (Censura  Literariay  vii.)  1563.  8vo.  Black  letter. 
British  Museum,  [1573.]  8vo.  Black  letter.  British  Mu- 
seum (2  copies). 

The  Dedication,  in  verse,  to  "the  Lord  Robert  Dudely," 
states  that  the  King  of  Bohemia  had  approved  the  book  in 
its  Latin  form,  and  the  late  King  Edward  VI,  in  a  French 
translation. 

It  is  a  translation  from  the  Latin  of  Guglielmo  Grataroli 
De  memoria  reparandaf  augenda  servandaque  ac  de  reminis- 
centia:  tutiora  omnimodo  remedia  et  prceceptiones  optimas 
continens.  Zurich.  1553.  8vo.  Lugduni.  1555.  16mo. 
British  Museum  (2  copies). 

Six  chapters  of  the  work  treat  of  various  medical  and  philo- 
sophical nostrums  recommended  for  "conserving  of  the  Mem- 
ory e  and  Remembraunce,"  while  the  seventh  chapter  explains 
several  mnemonic  devices  for  constructing  a  memoria  technica. 

Memory  takes  leave  of  her  students  with  these  lines,  — 

To  him  that  would  me  gladly  gaine, 

These  three  preceptes  shal  not  be  vaine; 

The  fyrst,  is  wel  to  understand 

The  thing  that  he  doth  take  in  hand. 

The  second  is,  the  same  to  place 

In  order  good,  and  formed  race. 

The  thyrde  is,  often  to  repeate 

The  thing  that  he  would  not  forgeate. 

Censura  Literaria»  Vol.  vn,  p.  210. 

236 

1562.  The  pleasaunt  and  wittie  playe  of  the  Cheasts  renewedy 
with  instructions  how  to  learne  it  easely^  and  to  play  it  well.  .  .  , 
Lately  translated  out  of  Italian  [of  Damiano  da  Odemira]  into 
French,  and  now  set  forth  in  Englishey  by  I,  R.  [James  Row- 
bothum]. 

Printed  at  London  by  Roulande  Hall,  for  James  Rowbotham, 
and  are  to  be  sold  at  his  shoppe  under  Bowe  churche  in  Cheape 


SU  ELIZABETHAN  TRANSLATIONS 


syde.  1562.  8vo.  Black  letter.  Also,  London,  1569.  8vo. 
Black  letter.  With  Latin  verses  prefixed  by  William  Ward, 
translator  of  The  Secretes  of  the  reverende  maister  Alexis  of 
Piemont.    (1558).  Both  in  the  British  Museum. 
Dedicated  to  Lord  Robert  Dudley. 
The  Italian  original  of  this  book  appears  to  be,  — 
Questo  lihro  e  da  imparare  giocare  a  scachi  et  de  le  partite, 
[The  description  of  the  chess  problems  is  in  Italian  and 
Spanish.] 

Rome.  1512.  4to.  Without  pagination.  British  Museum, 
See  Ludus  ScacchioB.  (1597). 

237 

1597.  Ludus  Scacchioe:  Chesse-play.  A  Game,  both  pleasant, 
wittie^  and  politicke:  with  certain  brief e  instructions  thereunto 
belonging.  Translated  out  of  the  Italian  [of  Damiano  da  Ode- 
mira]  into  the  English  tongue  [by  J.  Rowbothum].  Containing 
also  therein,  A  prety  and  pleasant  Poeme  of  a  whole  Game  played 
at  Chesse  [i.e.,  a  translation  into  English  verse,  by  W.  B.,  of 
the  Scacchia  Ludus  of  Marco  Girolamo  Vida].  Written  by  G.  B, 

Printed  at  London  by  H.  Jackson,  dwelling  beneath  the 
Conduite  in  Fleet  street.  1597.  4to.  2  parts.  24  leaves.  Brit- 
ish Museum  (2  copies).  Part  I  is  without  pagination,  and 
is  merely  an  abridgment  of  Rowbothum's  translation,  1562. 

In  an  Address  to  the  Reader  the  translator,  after  asserting 
that  "most  men  are  giuen  rather  to  play  than  to  studie  or 
trauell,"  argues  that  "this  game,  or  kingly  pastime,  is  not 
onely  void  of  craft,  fraud,  and  guile,  swearing,  staring,  im- 
patience, fretting,  and  falling  out,  but  also  breedeth  in  the 
players,  a  certaine  study,  wit,  pollicie,  forecast  and  memorie, 
not  onely  in  the  play  thereof  but  also  in  actions  of  publike 
gouernement,  both  in  peace  and  warre." 

Then  follows  a  description  of  the  pieces,  a  diagram  of  "the 
checker  or  chesse  boorde,"  and  an  explanation  of  the  game. 

Vida*s  poem,  entitled  Scacchia  Ludus,  occupies  thirty  pages 
and  gives  an  account  of  the  wedding  of  Oceanus  and  Tellus. 


SCIENCE  AND  THE  ARTS  313 


To  help  entertain  the  deities  who  are  his  guests,  Oceanus  calls 
for  the  board  "that  hangd  upon  a  wall,"  and  Apollo  and 
Mercury  play  a  game  in  which  Apollo  is  checkmated.  Mer- 
cury, travelling  afterwards  in  Italy,  falls  in  love  with  a  Sereian 
nymph,  and  — 

Of  her  name  Scacchis  Scacchia 
this  play  at  Chesse  did  call : 
And  that  this  God  in  memorie 
the  Lasse  might  longer  haue, 
A  Boxen  chesse  boord  gilded  round 

unto  the  gerle  he  gaue, 
And  taught  her  cunning  in  the  same, 

to  play  the  game  by  arte, 
Which  after  to  the  countrey  swaines 

this  Lady  did  imparte: 
Who  taught  their  late  posteritie 

to  use  this  kinde  of  play, 
A  game  of  great  antiquitie 
still  used  at  this  day. 

British  Bibliographer,  Vol.  i,  pp.  382-84. 

The  description  of  the  Spanish  game  of  ombre  in  The  Rape 
of  the  Lock  is  imitated  from  Scacchia  Ludus.  "Vida's  poem," 
says  Whitwell  Elwin,  Pope's  editor,  "is  a  triumph  of  inge- 
nuity, when  the  intricacy  of  chess  is  considered,  and  the  diffi- 
culty of  expressing  the  moves  in  a  dead  language.  Yet  the 
original  is  eclipsed  by  Pope's  more  consummate  copy." 

See  The  pleasaunt  and  wittie  playe  of  the  Cheasts  (1562). 

238 

1563.  Onosandro  PlatonicOy  of  the  Generall  Captaine^  and  of 
his  office,  translated  out  of  Greke  into  Italiany  by  Fabio  Cotia, 
a  Romayne:  and  out  of  Italian  into  Englysh  by  Peter  Whyte- 
horne. 

Imprinted  at  London  by  Willyam  Seres.  1563.  8vo. 
Black  letter.  British  Museum,  Bodleian. 

Dedicated  to  the  Earl  Marshal,  Thomas  Howard,  Duke 
of  Norfolk,  to  whom  Whitehorn  "wysheth  longe  life  and  per- 
petuall  felicitie." 


314  ELIZABETHAN  TRANSLATIONS 


The  Italian  original  of  this  work  is,  — 

Onosandro  Platonico  delV  ottimo  Capitano  generate,  e  del  suo 
ufficioy  tradotto  di  Greco  ,  .  .  per  F.[abio]  C[otta].  Venice, 
1546.  4to.  British  Museum, 

Reprinted,  Milan.  1862.  8vo. 

A  later  Greek  and  Latin  title  runs,  — 

*Ovo(TdvBpov  l>TpaTT]jLK(k,  Onosandri  Strategicus^  sine  de 
Imperatoris  Institutione,  Accessit  Ovp^LKiov  eTnrrjhevjJLa,  N. 
Rigaltius  nunc  primum  ,  ,  ,  Latina  interpretatione  et  notis 
illustravit.  Gr.  &  Lai. 

Lutetice  Parisiorum.  1598-99.  4to.  Mparts.  British  Museum 
(2  copies).  pHeidelberg.]  1600.  4to.  British  Museum.  [Heidel- 
berg.] 1604,  1600-05.  4to.  British  Museum. 

The  earliest  printed  edition,  in  Greek  and  Latin,  is  dated 
Rome,  1494.  4to. 

Onosander  (^Ovoadvhpo^)  was  a  Greek  writer  of  the  first 
century  after  Christ.  His  ^TpaTr}yLKo<;  \0709  is  dedicated  to 
Q.  Veranius,  who  is  probably  the  same  as  Q.  Veranius  Nepos, 
consul  in  49  a.d.  It  is  a  popular  work  on  military  tactics 
written  in  imitation  of  the  style  of  Xenophon.  A  Latin  edition 
appeared  at  Rome,  in  1493,  at  the  end  of  Nicolas  Sagundino's 
Rei  militaris  instituta  of  Vegetius  Flavins  Renatus.  A  French 
translation,  by  Jehan  Charrier,  is  dated  Paris,  1546,  the  year 
of  Cotta's  Italian  version. 

Onosandro  Platonico  treats  of  such  subjects  as  the  choice  of 
a  general,  councils  of  war,  declarations  of  war,  marches,  camps, 
drilling,  forages,  spies,  guards,  and  sentries,  sacrifices,  pursuit, 
gaining  information,  hours  for  meals,  encouraging  troops, 
battle  formations,  signals  to  be  used  in  reconnoitring,  prepa- 
rations for  battle,  sieges,  etc. 

239 

1565.  A  most  excellent  and  Learned  Woorlce  of  Chirurgerie, 
called  Chirurgia  parua  Lanfranci,  Lanfranke  of  Mylayne  his 
brief e:  reduced  from  dyuers  translations  to  our  vulgar  or  usuall 
frase,  and  now  first  published  in  the  Englyshe  prynte  by  J ohn 


SCIENCE  AND  THE  ARTS  315 


Halle  Chirurgien.  Who  hath  therunto  necessarily  annexed.  A 
Table^  as  wel  of  the  names  of  diseases  and  simples  vnth  their 
vertues,  as  also  of  all  other  termes  of  the  arte  opened.  Very 
profitable  for  the  better  understanding  of  the  same,  or  other  like 
workes.  And  in  the  ende  a  compendious  worke  of  Anatomie, 
more  utile  and  profitable,  then  any  here  tofore  in  the  Englyshe 
tongue  publyshed.  An  Historiall  Expostulation  also  against 
the  beastly  abusers,  both  of  Chyrurgerie  and  Phisicke  in  our 
tyme:  With  a  goodly  doctrine,  and  instruction,  necessary  to  be 
marked  and  folowed  of  all  true  Chirurgies.  All  these  faithfully 
gathered,  and  diligently  set  forth,  by  the  sayde  lohn  Halle. 

Imprinted  at  London  in  Flete  streate,  nyghe  unto  saint 
Dunstones  churche,  by  Thomas  Marshe.  An.  1565.  Sm.  4to. 
Owned  by  the  author. 

The  Historiall  Expostulation  was  edited,  for  the  Percy  So- 
ciety, 1844.  12mo.  By  T.  J.  Pettigrew. 

On  the  verso  of  the  title-page  there  is  a  wood-cut  of  the 
translator  marked,  "1564.  I.  H.  anno,  setatis  suae  35." 

Dedicated,  "Unto  the  Worshipful  the  maisters.  Wardens, 
and  consequently  to  all  the  whole  company  and  brotherhood 
of  Chirurgiens  of  London.  John  Halle,  one  of  the  leste  of 
them,  sendeth  hartie  and  louynge  salutation." 

In  "The  Epistle  Dedicatorie,"  Halle  gives  this  account  of 
his  work,  — 

"I  therfore,  as  preparatiue  to  the  reste  that  shall  folowe, 
dedicate  thys  my  symple  laboure,  in  settyng  forth  this  excel- 
lent compendious  worke,  called  Chirurgia  parua  Lanfranci, 
under  your  ayde,  helpe,  succor,  tuition  and  defence:  whiche 
was  translated  out  of  Frenche  into  the  olde  Saxony  englishe, 
about  twoo  hundred  yeres  past.  Which  I  haue  nowe  not  only 
reduced  to  oiu*  usuall  speache,  by  changyng  or  newe  translat- 
ing suche  wordes,  as  nowe  be  inueterate,  and  growne  out  of 
knowledge  by  processe  of  tyme,  but  also  conferred  my  labours 
in  this  behalf  with  other  copies,  both  in  Frenche  and  latin: 
namely  with  maister  Bacter,  for  his  latine  copie,  and  Symon 
Hudie  for  his  frech  copie,  and  other  English  copies:  of  the 


316  ELIZABETHAN  TRANSLATIONS 


which  I  had  one  of  John  Chaber,  &  an  other  of  John  Yates, 
both  very  auncient,  with  other  mo;" 

John  Halle  paints  a  vivid  picture  of  the  deplorable  igno- 
rance of  the  medical  profession  of  his  time;  "alas,"  he  says, 
"where  as  there  is  one  in  Englande,  almoste  throughout  al 
the  realme,  that  is  indede  a  true  minister  of  this  arte,  there 
are  tenne  abhominable  abusers  of  the  same.  Where  as  there 
is  one  chirurgien  that  was  apprentise  to  his  arte,  or  one  physi- 
cien  that  hath  travayled  in  the  true  studie  and  excercise  of 
phisique,  there  are  tenne  that  are  presumptions  swearers, 
smatterers,  or  abusers  of  the  same;  yea,  smythes,  cutlers,  car- 
ters, coblars,  copers,  coriars  of  lether,  carpenters,  and  a  great 
rable  of  women." 

He  is  outspoken  against  the  quacks  and  loud  in  his  protests 
against  their  combination  of  magic,  divination,  and  medicine. 
In  one  place  he  says,  —  "I  will  not  cease  while  breath  is  in 
my  body,  to  lay  on  with  both  handes  till  this  battell  be  wonne, 
and 'our  adversaries  convinced  and  vanquished;  which,  al- 
though, as  I  saide  afore,  they  are  tenne  to  one,  yet  truthe 
being  our  weapon,  and  good  science  our  armoure,  with  our 
generall  the  high  author  of  them,  we  nede  not  to  doubt  but 
that  one  shal  be  good  enough  for  a  thousand,  not  so  strongly 
armed,  but  naked  men,  and  bare  of  all  knowledge." 

A  section  of  The  Preface  to  the  Reader,  called  the  "Properties 
of  a  Chirurgien,"  summarizes  Halle's  ideal  surgeon,  —  "all 
that  should  be  admytted  to  that  arte,  should  be  of  cleare 
and  perfect  sight,  well  formed  in  person,  hole  of  mynde  and 
of  members,  sclender  and  tender  fingered,  havyng  a  softe  and 
stedfast  hande:  or  as  the  common  sentence  is,  a  chirurgien 
should  have  three  dyvers  properties  in  his  person.  That  is  to 
saie,  a  harte  as  the  harte  of  a  lyon,  his  eyes  like  the  eyes  of 
an  hawke,  and  his  handes  as  the  handes  of  a  woman." 

One  or  two  quotations  from  the  Expostulation  will  illus- 
trate at  once  Halle's  vigorous  prose  and  the  sort  of  quacks  he 
exposed,  — 

"I  will  here  also  omitte  to  talke  of  Grigge  the  Poulter,  with 


SCIENCE  AND  THE  ARTS  317 


divers  other,  whose  endes  have  made  their  doinges  knowne. 
And  also  of  a  joyner  in  London,  a  Frencheman  borne,  that  is  of 
late  becomme  a  phisitien,  who  is  estemed  at  this  daye,  among 
dyverse  right  worshipfull,  to  be  very  learned  and  cunnyng, 
that  knowe  not  his  originall;  yea,  they  call  him  doctor  James; 
but  an  honest  woman,  an  olde  neighbour  of  his,  (not  longe 
synce),  at  a  man  of  worshyppes  house  in  Kente,  merveyled 
to  see  hym  in  suche  braverye,  and  lordly  apparell;  who,  when 
she  tooke  acquaintance  of  hym,  he  wronge  hyr  harde  by  the 
hande,  and  rounded  hyr  in  the  eare,  saiyng :  if  thou  b^^  an  hon- 
est woman,  kepe  thy  tongue  in  thy  headde,  and  saye  nothinge 
of  me." 

"One  named  Kiterell,  dwelleth  in  Kente,  at  a  parysh  called 
Bedersden,  that  hath  been  all  his  lyfe  a  sawyer  of  tymbe^  and 
borde,  a  man  very  symple,  and  altogether  unlearned*  who  at 
this  present  is  become  a  phisitien,  or  rather  f  detestable 
deceavyng  sorcerer.  He  wyll  geve  judgement  on  urines,  and 
whyles  he  loketh  on  the  water,  he  wiU  grope  and  f'^le  him  selfe 
all  about;  and  otherwhyle,  where  as  he  feleth,  he  will  shrynke, 
as  though  he  were  pricked,  or  felte  some  great ' -aine.  Then 
he  tourneth  to  the  messenger  and  telleth  him  T^  aere,  and  in 
what  sorte  the  partie  is  greved;  whiche  maketh  the  people 
thynke  him  very  cunning.  They  seeke  to  hym  {arre  and  neere 
for  remedy  for  suche  as  are  bewyched  or  inchanteA,  and  as  they 
commonly  terme  it,  forespoken.  What  stuffe  is  this,  let  the 
wyse  and  learned  judge.  And  he  hath  so  prospered  with  these 
doynges,  that  in  shorte  space  he  hath  been  able  bothe  to 
purchase  and  buylde,  as  I  am  credibly  enf ormed  of  divers  men 
that  doe  knowe  and  have  seen  the  same.  For  there  are  many 
that  reporte,  (and  they  no  small  fooles,)  that  he  hath  cured 
suche  as  al  the  learned  phisitiens  in  England  coulde  doe  no 
good  unto,  beleve  it  who  wyll." 

Lanfranci  of  Milan  (died  1306?)  was  a  pupil  of  Gulielmus 
de  Saliceto;  after  completing  his  studies,  he  settled  in  Lyons, 
France,  whence  he  was,  on  account  of  his  great  reputation, 
called  to  Paris.  The  manuscript  of  his  work,  Ars  Chirurgica, 


318  ELIZABETHAN  TRANSLATIONS 


is  in  the  Bibliotheque  Nationale;  it  was  first  published  in 
Venice  and  Lyons  (a  French  translation),  in  1490,  and  was 
republished  in  Venice  in  1519  and  1546.  A  Lyons  imprint  is 
dated  1553,  and  a  German  translation,  by  Otho  Brunfels, 
appeared  at  Frankfort,  in  1566. 

John  Halle  was  a  surgeon  in  practice  at  Maidstone,  in 
Kent,  and  a  "member  of  the  worshipful  Company  of  Chirur- 
geons."  He  was  a  facile  versifier  and  was  the  author  of  two 
collections  of  verse,  — 

Certayne  Chapters  taken  out  of  the  Proverbes  of  Solomon,  with 
other  Chapters  of  the  Holy  Scripture,  and  certayne  Psalmes  of 
David,  translated  into  English  Metre,  by  John  Hall,  1550 
(attributed  in  a  former  impression  to  Thomas  Sternhold),  and 
The  Court  of  Virtue,  containing  many  Holy  or  Spretual  Songs, 
Sonnettes,  Psalmes,  Ballets,  and  Shorte  Sentences,  as  well  of  Holy 
Scripture  as  others,  with  Music,  Notes.  London.  1565.  16mo. 

240 

1574.  A  Direction  for  the  Health  of  Magistrates  and  Studentes. 
Namely  suche  as  bee  in  their  consistent  Age,  or  neere  thereunto: 
Drawen  as  well  out  of  sundry  good  and  commendable  Authours, 
as  also  upon  reason  and  faithfull  experience  otherwise  certaynely 
grounded.  Written  in  Latin  by  Guilielmus  Gratarolus,  and 
Englished,  by  T.  N. 

Imprinted  at  London,  in  Fleetstreete,  by  William  How, 
for  Abraham  Veale.  1574.  Oct.  xiiij.  12mo.  Black  letter. 
British  Museum, 

Dedicated  "to  the  Right  Honorable  Maister  Francis  Wal- 
syngham,  Esquier,  one  of  the  principal  1  Secretaries  to  the 
Queenes  moste  excellent  Maiestie,  and  of  hir  Maiesties  moste 
Honorable  Priuie  Counsell." 

This  is  a  translation  of  Guglielmo  Grataroli's  work,  called 
De  litteratorum  et  eorum  qui  magistratibus  funguntur  conser- 
vanda,  proeservandaque  valitudine  [illorum  proBcipue  qui  in 
(state  consistenticB,  vel  non  longe  ab  ea  absunt.  Basle.  1555. 
8vo].  Paris.  1562.  16mo.  Black  letter.  British  Museum. 


SCIENCE  AND  THE  ARTS  319 


T.  N.  is  Thomas  Newton,  of  Cheshire,  the  poet  and  Latinist, 
who  practised  medicine  for  some  time  before  taking  orders. 

The  directions  for  preserving  health  relate  chiefly  to  diet 
and  exercise:  of  diet  Newton  says  in  his  Dedication,  "diet  is 
the  safest,  the  sm-est  and  the  pleasantest  way  that  can  be  used 
and  farre  to  be  preferred  before  all  other  kindes  of  remedies, 
unlesse  the  disease  be  of  such  vehemence,  quality,  condition 
and  extremitie  that  it  seeme  to  requyre  some  great  speciall 
consideration  otherwise,  and  in  time  of  sicknesse  is  not  onely 
a  special  &  harmlesse  recuratiue,  but  also  in  time  of  health, 
the  best  and  almost  the  onely  preseruative." 

241 

1574.  Most  brief e  tables  to  Icnowe  redily  howe  manye  ranches 
of  footemen  armed  with  Corslettes,  as  unarmed,  go  to  the  making  of 
a  iust  battayle,  from  an  hundred  unto  twenty e  thousande.  Nexte 
a  very  easye,  and  approued  way  to  arme  a  battaile  with  Harka- 
huzers,  and  winges  of  horsemen  according  to  the  use  of  these  daies, 
Newlye  increased,  and  largelye  amplified  both  in  the  tables,  as 
in  the  declaration  of  the  same,  by  the  Aucthour  himself  e,  Girolamo 
Cataneo  Novarese.  Tourned  out  of  Italion  into  English  by  H.  G, 

Imprinted  at  London,  by  W.  Williamson  for  Ihon  Wight. 
Anno  M.D.LXxiiii.  4to.  Black  letter.  British  Museum.  War 
Office  Library. 

Imprinted  at  London  by  Thomas  East,  for  Ihon  Wight. 
1588.  4to.  Black  letter.  British  Museum  Bodleian.  Library 
of  the  Royal  Artillery  Institute. 

A  translation  of  a  work  on  military  tactics  by  Girolamo 
Cataneo  (Novarese),  entitled,  — 

Tavole  brevissime  per  sapere  con  prestezza  quante  file  uanno 
aformare  una  giustissima  battaglia.  Con  li  suoi  armati  di  cor- 
saletti  da  cento  fin  a  uenti  duemilia  e  sei  cento  huomini.  Et 
appresso  un  facilissimo,  et  approuato  modo  di  armaria  di 
archibugieri,  &  di  ale  di  caualleria  secondo  V  uso  moderno. 

Brescia,  L.  di  Sabbio  for  G.  B.  Bozola.  1563.  8vo.  British 
Museum. 


320  ELIZABETHAN  TRANSLATIONS 


Dedicated  by  the  author  to  "the  Earle  Aloigi  Anogardo." 

Cataneo  says  that  it  is  almost  impossible  that  twenty  thou- 
sand men  would  be  engaged  in  battle  at  once;  the  usual  num- 
ber would  be  from  ten  thousand  to  twelve  thousand. 

242 

1575.  The  Booh  of  Faulconrie,  or  Hawking.  For  the  onely 
delight  and  pleasure  of  all  Nohlemen  and  Gentlemen.  Collected 
out  of  the  best  authors,  as  well  Italian  as  Frenchmeny  and  some 
English  practices  withall  concerning  Faulconrie,  the  contents 
whereof  are  to  be  scene  in  the  next  page  folowying. 

Imprinted  by  Christopher  Barker  at  the  signe  of  the  Gras- 
hopper  in  Paules  Churchyard.  1575.  4to.  Black  letter.  With 
woodcuts. 

Dedicated  to  Ambrose  Dudley,  Earl  of  Warwick. 

The  Booke  of  Falconrie  or  Hawking;  for  the  onely  delight  and 
pleasure  of  all  Noblemen  and  Gentlemen:  Collected  out  of  the  best 
Authors,  as  well  Italians  as  Frenchmen,  and  some  English  prac- 
tises withall  concerning  Falconrie,  Heretofore  published  by  George 
Turbervile  Gentleman.  And  now  newly  reuiued,  corrected,  and 
augmented,  with  many  new  Additions  proper  to  these  present  times. 
Nocet  empta  dolore  voluptas. 

[Beneath  the  motto  is  a  large  cut  representing  a  gentleman 
(perhaps  Lord  Warwick)  in  hawking  costume,  attended  by 
two  other  gentlemen,  one  of  whom  seems  to  be  the  same  who 
is  introduced  into  The  Noble  Art  of  Venerie  or  Hunting.] 

At  London.  Printed  by  Thomas  Purfoot.  An.  Dom.  1611. 
4to.  Black  letter.  British  Museum. 

With  many  cuts,  in  some  of  which  (as  in  the  Art  of  Venerie) 
Gascoigne  and  another,  perhaps  Turberville,  are  introduced 
waiting  on  King  James  I.  In  the  first  edition  the  royal  fal- 
coner in  the  cuts  was  Queen  Elizabeth.  Turberville  has  an 
original  poem  at  the  beginning  "in  commendation  of  Hawk- 
ing," and  a  poetical  epilogue,  twelve  stanzas  long. 

The  Noble  Art  of  Venerie  or  Hunting,  which  is  also  ascribed 
to  Turberville,  is  generally  bound  up  with  both  editions.  The 


SCIENCE  AND  THE  ARTS  321 


1575  edition  of  this  is  dedicated  by  the  publisher  to  Sir  Henry 
Clinton,  and  both  are  prefaced  by  commendatory  verses  by 
Gascoigne  and  by  T.  M.  Q. 

243 

[1579.]  A  Joyfull  Jewell.  Contayning  as  well  such  excellent 
orders,  preservatives  and  precious  practices  for  the  Plague;  as 
also  such  various  medicines  for  divers  maladies,  as  hitherto 
have  not  been  published  in  the  English  tung.  Written  in  the 
Italian  tung  by  .  .  .  Z.[eonard]  Fioravantie  and  now  .  .  . 
translated  .  ,  .  by  T,  H.  [Thomas  Hill.  Edited  by  Hill's  friend, 
John  Hester.] 

Imprinted  for  W.  Wright.  London.  [1579.]  4to.  Black  letter. 
British  Museum. 

Translated  from  the  Comit  Leonardo  Fioravanti*s, 

II  Reggimento  delta  Peste  .  .  .  Nuovamente  ristampato,  cor- 
retto  ed  ampliato,  etc.  Venetia.  1594.  8vo.  British  Museum. 
Other  editions  were,  Venice,  1565,  1571,  and  1626,  8vo. 

John  Hester,  distiller,  or  as  he  styled  himself,  'practitioner 
in  the  Spagericall  Arte'  (spagyrical,  that  is,  chemical),  carried 
on  business  at  Paul's  Wharf,  from  about  1579  until  his  death 
in  1593.  "Olde  John  Hester"  is  mentioned  as  a  distinguished 
chemist  in  Gabriel  Harvey's   Pierce's  Supererogation'*  (1593). 

244 

1580.  A  short  discours  of  the  excellent  Doctour  and  Knight, 
Maister  Leonardo  Phiorauante  Bolognese  uppon  chirurgerie  with 
a  declaration  of  many  thinges  necessarie  to  be  knowne,  never  writ- 
ten before  in  this  order;  wherunto  is  added  a  number  of  notable 
secretes  found  out  by  the  sayde  Author.  Translated  out  of  Italy  an 
into  English  by  J.[ohn]  Hester. 

London.  1580.  4to.  Black  letter.  Few  manuscript  Notes. 
British  Museum. 

A  Discourse  upon  Chyrurgery.  .  .  .  Translated  out  of  Italian 
by  J.[ohn]  Hester,  .  .  .  and  now  newly  published  and  augmented, 
*  •  ,by  il.[ichard]  Booth. 


Sm  ELIZABETHAN  TRANSLATIONS 


E.  AUde.  London.  1626.  4to.  Black  letter.  British 
Museum.  London.  1652.  4to,  in  Three  exact  Pieces  of  Leon- 
ard Phiovrant,  etc. 

Translated  from  the  Count  Leonardo  Fioravanti,  — 

La  Cirurgia  delU  eccelen.  Dottore  ...  X.  F,  distinta  in  tre 
libri  .  .  .  con  una  gionta  de  secreti  nuovi  delT  istesso  autore. 

Venetia.  1582.  8vo.  Venetia,  1630.  Svo.  Both  in  the 
British  Museum, 

245 

1582.  A  Compendium  of  the  Rationall  Secretes^  of  the  worthie 
Knight  and  moste  excellent  Doctour  of  Phisicke  and  Chirurgerie 
Leonardo  Phioravante  Bolognese,  devided  into  three  Bookes,  In 
the  first  is  showed  many  Secretes  apperteining  unto  Physicke.  In 
the  seconde  is  shewed  many  Secretes  apperteining  unto  Chirur- 
gerie. In  the  third  is  showed  diuers  Compositions,  apperteining 
bothe  to  Phisicke  and  Chirurgerie;  with  the  hidden  vertues  of  son- 
drie  vegitables,  animalles,  and  minerallsy  and  proued  well  by  this 
Author  heretofore,  never  set  out  before.  [Translated  and  edited 
by  John  Hester.] 

J.  Kyngston,  for  G.  Pen.  London.  1582.  8vo.  Black  letter. 
British  Museum.  London.  1652.  4to,  in  Three  exact  Pieces  of 
Leonard  Phiovrant,  etc. 

Translated  from  Count  Leonardo  Fioravanti's  Del  Com- 
pendio  dei  Secreti  rationali  intorno  alia  Medidna,  Chirurgia,  ed 
Alchimia  .  .  .  libri  cinque,  etc. 

Venetia.  1564.  Svo.  British  Museum. 

Other  editions,  1571,  1591,  1666,  1675,  1680,  8vo;  in  Latin, 
Turin,  1580,  Svo;  in  German,  Darmstadt,  1624,  Svo. 

246 

1584.  The  Art  of  Riding,  set  foorth  in  a  breefe  treatise,  with 
a  due  interpretation  of  certeine  places  alledged  out  of  Xenophon, 
and  Or y son  [Federico  Grisone],  very  expert  and  excellent 
Horssemen:  Wherein  also  the  true  use  of  the  hand  by  the  said 
Grysons  rules  and  precepts  is  speciallie  touched:  and  how  the 


SCIENCE  AND  THE  ARTS  323 


Author  of  this  present  worke  hath  put  the  same  in  practise^  also 
what  profit  men  maie  reape  thereby:  without  the  knowledge  whereof, 
all  the  residu  of  the  order  of  Riding  is  hut  vaine.  Lastlie  is  added 
a  short  discourse  of  the  Chaine  or  Cauezzan,  the  Trench,  and  the 
Martingale:  written  by  [G.  B.]  a  gentleman  of  great  skill  and 
long  experience  of  the  said  Art. 

Henrie  Denham,  London,  1584.  4to.  British  Museum. 

The  translator  is  John  Astley,  "Maister  of  her  Majesties 
Jewell  house." 

In  1573,  eleven  years  before  the  date  of  this  translation,  Sir 
Philip  Sidney  advised  his  brother  Robert  Sidney,  —  "At 
horsemanship,  when  you  exercise  it,  read  Grison  Claudio,  and 
a  book  called  La  Gloria  del  Cavallo  withal,  that  you  may  join 
the  thorough  contemplation  of  it  with  the  exercise;  and  so 
shall  you  profit  more  in  a  month  than  others  in  a  year,  and 
mark  the  bitting,  saddling  and  curing  of  horses."  (H.  R. 
Fox-Bourne,  Memoir  of  Sir  Philip  Sidney,  p.  278.) 

Claudio  may  be  Claudio  Corte,  whose  II  Cavallerizzo  was 
translated  also  in  1584,  by  Thomas  Bedingfield. 

See  Thomas  Blundeville's  A  newe  booke,  containing  the  arte 
ofryding.  [1560?] 

247 

1584.  The  Art  of  Riding,  conteining  diuerse  necessarie  in- 
structions,  demonstrations,  helps,  and  corrections  apperteining 
to  horssemanship,  not  heretofore  expressed  by  anie  other  Author: 
Written  at  large  in  the  Italian  toong,  by  Maister  Claudio  Corte 
.  .  .  Here  brieflie  reduced  into  certeine  English  discourses  to  the 
benefit  of  Gentlemen,  etc. 

Imprinted  at  London  by  H.  Denham.  1584.  4to.  112  pp. 
British  Museum. 

Dedicated  to  "M.  Hen.  Machwilliam." 

This  is  a  translation,  by  Thomas  Bedingfield,  of  Book  ii  of 
Claudio  Corte 's 

II  Cavallerizzo  .  .  .  nel  quale  si  tratta  delta  natura  de*  Caualli, 
delle  Razze,  del  Modo  di  gouernarli,  domarli,  &  frenarli.  Et  di 


S24  ELIZABETHAN  TRANSLATIONS 


tuUo  quello,  che  h  Caualli  et  a  huon  Cauallerizzo  appartiene, 
Di  nuouo  .  .  .  corretto  &  emendato  &  aggiuntovi  di  molte  cose 
necessarie,  etc. 

Venetia,  appresso  Giordano  Ziletti,  1573.  4to.  British 
Museum. 

Chapter  xxviii  is  on  the  manner  of  using  and  training 
horses  for  war. 

248 

1586.  A  Briefe  and  pleasaunt  Treatise,  Intituled:  Naturall 
and  Artificiall  Conclusions:  Written  firste  hy  sundry  Schollers  of 
the  Universitie  of  Padua  .  .  .  at  the  ,  ,  .  request  of  one  Barthol- 
mew,  a  Tuscane;  and  now  Englished  hy  T.  Hyll  [Thomas  Hill, 
Londoner],  etc. 

E.  Allde.  London.  1586.  8vo.  Black  letter.  British 
Museum.  Also,  London.  [October  2.]  1650  [1649].  8vo. 
Black  letter.  British  Museum.  London.  1670.  8vo.  British 
Museum.  London.  1684.  8vo.  Black  letter.  British  Museum. 

249 

1588.  Three  hooJces  of  Colloquies  concerning  the  arte  of  shooting 
in  great  and  small  peeces  of  artillerie,  variable  randges,  measure, 
and  waight  of  leaden,  yron,  and  marble  stone  pellets,  minerall 
saltepeeter,  gunpowder  of  diuers  sortes,  and  the  cause  why  some 
sortes  of  gunpowder  are  corned,  and  some  sortes  of  gunpowder 
are  not  corned:  Written  in  Italian,  and  dedicated  by  Nicholas 
Tartaglia  unto  the  Royall  Prince  of  most  famous  memorie 
Henrie  the  eight,  late  King  of  England,  Fraunce,  and  Ireland, 
defender  of  the  faith,  etc.  And  now  translated  into  English  by 
Cyprian  Lucar  Gent,  who  hath  also  augmented  the  volume  of  the 
saide  Colloquies  with  the  contents  of  every  Colloquie,  and  with 
all  the  Corollaries  and  Tables,  that  are  in  the  same  volume.  Also 
the  saide  Cyprian  Lucar  hath  annexed  unto  the  same  three  bookes 
of  Colloquies  a  Treatise  named  Lucar  Appendix  collected  by  him 
out  of  diuers  Authors  in  diuers  languages  .  .  . 

Printed  at  London  for  John  Harrison.  1588,  Folio, 


SCIENCE  AND  THE  ARTS  325 


Second  title-page :  — 

A  Treatise  named  Lucar  Appendix,  collected  by  Cyprian  Lucar 
gentleman,  out  of  divers  good  authors  in  divers  languages:  To 
shewe  unto  the  Reader  the  properties,  office,  and  dutie  of  a 
Gunner,  and  to  teach  him  to  make,  and  refine  artificiall  Salt- 
peter: to  sublime  brimstone  for  gunpowder,  to  make  gunpowder 
of  diuers  sorts  &  of  diuers  colours,  to  make  gunmatches,  touch- 
wood andfirestones,  to  know  the  waight  and  measure  of  any  pellet, 
to  make  carriages,  ladles,  rammers,  scourers,  and  cartredges  for 
any  great  peece  of  artillerie,  to  know  the  proportioned  length,  due 
thicknesse,  and  waight  of  euery  great  peece  of  artillerie,  to  know 
what  number  of  men,  horses,  or  oxen  wil  drawe  any  great  peece 
of  artillerie,  to  make  platformes  for  great  ordinance,  to  make 
gabbions  of  earth  for  the  defence  of  gunners  in  time  of  seruice,  to 
charge  every  great  peece  of  artillerie  with  his  due  charge  in  serpen- 
tine gunpowder,  and  also  in  corne  gunpowder,  to  shoote  well  at 
any  marke  within  point  blanke,  to  shoote  well  at  any  marke  upon 
a  hill,  or  in  a  valley  without  poynt  blanke,  to  shoote  well  at  a 
marke  in  any  darke  night,  to  mount  morter  peeces  to  strike  any 
appointed  marke,  to  tell  whether  a  thing  scene  farre  of  doth  stand 
still,  come  towards  him,  or  goe  from  him,  to  make  and  u^e  diuers 
Trunkes,  and  many  sortes  of  fire  workes,  to  make  mynes,  to 
measure  altitudes,  longitudes,  latitudes,  and  profundities,  to 
draw  the  true  plat  of  any  place,  and  to  do  other  commendable 
things  which  not  onelie  in  time  of  warre,  but  also  in  time  of 
peace  may  to  a  good  end  be  practised.  Anno  domini.  1588. 

Colophon.  At  London.  Printed  by  Thomas  Dawson,  for 
John  Harrison  the  elder,  at  the  signe  of  the  Greyhounde  in 
Paules  Churchyarde,  and  are  there  to  be  solde.  1588.  Folio. 
British  Museum.  Library  of  Royal  Artillery  Institute.  War 
Office  Library. 

Dedicated,  by  the  publisher,  John  Harrison,  to  the  Earl  of 
Leicester,  and  fully  illustrated. 

In  this  work,  Lucar  has  translated  Books  i,  ii,  and  iii  of 
Niccolo  Tartaglia's  treatise  on  the  theory  and  practice  of 
gunnery,  entitled,  — 


326  ELIZABETHAN  TRANSLATIONS 


Quesiti  et  Inventioni  Diverse. 

Venetia.  Venturino  Ruffinelli.  1546.  4to.  British  Museum. 
1554.  British  Museum.  1606.  British  Museum. 

Tartaglia's  Quesiti  is  an  enlargement  of  his  first  work,  — 

Nuova  Scienza,  doe  Invenzione  nuovamente  trovata,  utile  per 
ciascuno,  speculativOy  matematico,  bomhardiero,  ed  altri. 

Venice.  1537.  4to.  Ibid.,  1550,  1551,  1583,  4to. 

In  French,  par  Reiffel.  Paris.  1845-46.  2  parts.  8vo. 

Dedicated  to  Henry  VIII. 

The  Nuova  Sdenza  is  divided  into  three  books:  — 

Book  I,  On  falling  bodies  and  projectiles. 

Book  II,  On  the  flight  of  projectiles. 

Book  III,  On  the  measurements  of  heights  and  distances. 

Lucar's  Appendix,  "collected  out  of  divers  good  authors," 
is  far  longer  than  his  translation  from  Tartaglia. 

Niccolo  Tartaglia  was  the  first  to  inquire  into  the  nature 
of  the  curve  described  by  projectiles.  Leonardo  da  Vinci  in- 
vestigated the  composition  of  explosives,  and  made  many 
designs  for  engines  of  war,  cannon  to  be  loaded  at  the  breech 
and  "steam  cannon,"  but  his  speculative  researches  lay  buried 
in  manuscript  when  Tartaglia  published  his  writings  on 
gunnery. 

"  In  the  second  year,  my  Uncle  Toby  purchased  '  Ramelli ' 
and  '  Cataneo,'  translated  from  the  Italian:  —  likewise  *  Stevi- 
nus,'  *  MoraHs,'  the  *  Chevalier  de  Ville,'  *  Lorini,'  *  Coehorn,' 
*  Sheeter,'  the  *  Count  de  Pagon,'  the  *  Marshal  Vauban,' 
*Mons.  Blondel,'  with  almost  as  many  more  books  of  mili- 
tary architecture  as  Don  Quixote  was  found  to  have  of  chiv- 
alry, when  the  curate  and  the  barber  invaded  his  library. 

"Towards  the  beginning  of  the  third  year,  which  was  in 
August,  ninety-nine,  my  Uncle  Toby  found  it  necessary  to 
understand  a  little  of  projectiles :  —  and  having  judged  it  best 
to  draw  his  knowledge  from  the  fountain-head,  he  began  with 
N.  Tartaglia,  who  it  seems  was  the  first  man  who  detected  the 
imposition  of  a  cannon-ball's  doing  all  that  mischief  under 
the  notion  of  a  right  line.  —  This,  N.  Tartaglia  proved,  to  my 


SCIENCE  AND  THE  ARTS  327 


Uncle  Toby,  to  be  an  impossible  thing.  Endless  is  the  search 
of  truth."  (Sterne,  The  Life  and  Opinions  of  Tristram  Shandy, 
Book  II,  Chap.  3.) 

250 

1588.  [7/  Padre  di  Famiglia.]  [The  Householders]  Phil- 
osophie.  Wherein  is  perfectly  and  profitably  described,  the  true 
(Economia  and  Forme  of  Housekeeping.  With  a  Table  added 
thereunto  of  all  the  notable  thinges  therein  contained.  First  written 
in  Italian,  by  that  excellent  Orator  and  Poet,  Signior  Torquato 
Tasso,  and  now  translated  by  T.  K.  Whereunto  is  anexed  a 
dairie  bookefor  all  good  huswives.  Dedicated  to  them  by  Barthol- 
omew Dowe. 

At  London.  Printed  by  J.[ohn]  C.[harlewood]  for  T.  Hacket, 
and  are  to  be  sold  at  his  shop  in  Lomberd-streete,  under  the 
signe  of  the  Popes  head.  1588.  4to.  Black  letter.  British 
Museum  (imperfect).  Bodleian. 

The  Works  of  Thomas  Kyd.  Edited  from  the  Original  Texts. 
With  Introduction,  Notes,  and  Facsimiles.  By  Frederick  S, 
Boas,  M.A.  Oxford.  1901. 

Dedicated  to  *Maister  Thomas  Reade.' 

The  translation  is  signed  at  the  end  after  Thomas  Kyd's 
manner,  with  his  initials  beneath  a  Latin  pentameter. 

This  work  is  a  translation  of  Tasso's  famous  dialogue,  II 
Padre  di  Famiglia  (Venice.  1583.  12mo.  1825.  12mo). 

Torquato  Tasso,  in  one  of  his  sudden  fits  of  melancholy 
and  suspicion  determined  to  flee  from  the  court  of  Urbino  and 
put  himself  under  the  protection  of  the  Duke  of  Savoy.  On 
the  road  to  Vercelli,  arriving  one  evening  at  the  banks  of  the 
Sesia,  he  found  the  river  so  swollen  that  the  ferryman  refused 
absolutely  to  venture  over.  A  storm  came  on,  and  Tasso, 
weary  and  footsore,  would  have  been  in  a  sad  plight  had  he 
not  met  with  a  young  man  who  kindly  offered  him  the  hospi- 
tality of  his  home  for  the  night.  It  proved  to  be  a  neighboring 
mansion,  where  the  young  man  introduced  the  guest  to  his 
father,  a  venerable  man  whose  appearance  was  as  pleasing  as 
his  entertainment  was  generous  and  elegant. 


328  ELIZABETHAN  TRANSLATIONS 


Tasso  had  at  first  declined  revealing  his  name,  but  over  the 
wine  and  fruits,  his  reserve  wore  away,  and  when  the  conver- 
sation turned  at  last  upon  the  economy  of  agriculture,  he  dis- 
played so  much  learning,  and  spoke  so  eloquently  of  the  crea- 
tion of  the  world,  and  of  the  sun's  motions,  that  his  host 
divined  who  he  was.  The  disclosure  of  identity  is  most  deli- 
cately expressed  by  the  old  man,  *he  now  knew  he  was  enter- 
taining a  more  illustrious  guest  than  he  had  at  first  supposed, 
his  guest  was  perhaps  the  person  of  whom  some  rumor  had 
spread  in  those  parts,  who,  having  fallen  into  misfortunes  by 
some  human  error,  was  as  much  deserving  of  pardon,  from 
the  nature  of  his  offence,  as  he  was  in  other  respects  worthy 
of  admiration  and  renown.' 

The  simplicity  and  beauty  and  repose  of  the  domestic 
picture  in  which  Tasso  has  framed  the  romantic  incident  are 
unsurpassed.  And  the  effect  is  all  the  more  heightened  by  the 
setting  as  an  interval  of  peace  between  struggles.  The  poet 
was  taken  in  at  nightfall  out  of  the  storm,  and  the  next 
morning,  he  tells  us,  he  went  on  to  Turin,  moneyless,  and 
compelled  to  wade  on  foot  through  mire  and  water. 

251 

1592.  Hypnerotomachia.  The  strife  of  Loue  in  a  Dreame. 

Printed  for  Simon  Waterson,  and  are  to  be  sold  at  his  shop 
in  S.  Paules  Churchyard,  at  Cheape-gate.  1592.  4to.  Bod- 
leian. 

Some  copies  are  "Printed  for  William  Holme,  and  are  to 
be  sold  at  his  Shoppe,  neere  the  great  north  doore  of  Paules. 
1592." 

The  woodcuts  are  extremely  poor  reproductions  of  the 
famous  Aldine  plates  of  1499. 

Without  name  of  author  or  translator. 

Dedicated,  in  memory,  "To  the  thrise  honourable  and  ever 
lyving  vertues  of  Syr  Phillip  Sydney  Knight,"  and,  as  patron, 
to  Robert  Devereux,  Earl  of  Essex  and  Ewe,  by  "R.  D." 

Francis  Douce  conjectured  *R.  D.'  to  be  Robert  Dallyngton, 


SCIENCE  AND  THE  ARTS  329 


translator  of  The  Mirror  of  Mirthy  etc.,  of  Bonaventure  Des- 
periers  (London.  1583.  4to). 

The  Strife  of  Love  in  a  Dream,  being  the  Elizabethan  Version 
of  the  first  book  of  the  Hypnerotomachia  of  Francesco  Colonna, 
A  New  Edition  by  Andrew  Lang,  M.  A. 

London.  Published  by  David  Nutt  in  the  Strand.  1890. 
Royal  8vo.  The  Tudor  Library.  Owned  by  the  author.  Illus- 
trated with  a  selection  of  thirty  of  the  choice  woodcuts  from 
the  Italian  edition  of  1499. 

The  original  of  this  translation,  reprinted  after  a  lapse  of 
upwards  of  three  hundred  years,  is  a  famous  Aldine  book,  — 

Poliphili  Hypnerotomachia,  ubi  humana  omnia  non  nisi 
somnium  esse  ostendit,  atque  obiter  plurima  scitu  sane  quam 
commemorat  {opus  a  Francisco  Columna  compositum,  et  a  Leon. 
Crasso  veronensi  editum) . 

Venetiis  mense  Decembri  M  ID,  in  cedibus  Aldi  Manutii, 
Folio.  British  Museum.  Illustrated  with  172  woodcuts,  as- 
signed most  frequently  to  Giovanni  Bellini,  to  whose  school 
they  certainly  belong. 

Vinegia,  in  casa  de'  figliuoli  di  Aldo,  1545.  Folio.  With  a 
title-page  in  Italian. 

London.  1904.  Methuen  &  Co.  Complete  facsimile.  350 
copies. 

Facsimiles  of  the  woodcuts  of  the  Aldine  edition  were  pub- 
lished in  1889  by  J.  W.  Appell,  of  the  South  Kensington 
Museum,  under  the  title,  — 

The  Dream  of  Poliphilus:  Facsimiles  of  One  Hundred  and 
Sixty -Eight  Woodcuts,  etc.  Reproduced  for  the  Department  of 
Science  and  Art  in  Photo-Lithography,  by  W.  Griggs.  1889. 

There  have  been  six  French  editions  of  the  Hypneroto- 
machia:  — 1546  (folio),  translated,  or  rather  imitated,  by  Jean 
Martin,  and  published  by  Jacques  Kerver,  with  the  plates 
altered  by  a  French  artist;  1556  (folio);  1561  (folio);  1600 
(4to);  1804,  Songe  de  Poliphile,  a  free  translation,  without 
plates,  by  the  French  architect,  Jacques  Guillaume  Le  Grand, 
published  by  Didot  L'Aine,  in  2  vols.;  1811,  2  volumes,  the 


330  ELIZABETHAN  TRANSLATIONS 


same,  published  by  the  Bodoni  press  of  Parma;  and  1883, 
translated  by  the  French  painter  and  poet,  Claudius  Popelin, 
and  published  by  Liseux,  Paris,  in  2  volumes,  with  changed 
plates  and  an  authoritative  introduction. 

M.  Popelin's  is  the  best  translation  yet  made  of  the  difficult 
macaronic  Latin-Greek  language  Colonna  used. 

The  Hypnerotomachia  is  an  architectural  romance,  and  a 
masterpiece  of  Venetian  book  illustration.  Its  author  was 
unknown  until  it  was  discovered  that  the  first  letters  of  the 
thirty-eight  chapters  of  the  book  made  up  the  device,  —  Poliam 
frater  Franciscus  Columna  peramavit.  Francesco  Colonna 
was  a  Dominican  friar  in  Venice,  who  died  in  July,  1527. 
His  book  was  written  at  Treviso  in  1467,  and  was  published 
at  the  expense  of  Leonardo  Crasso,  of  Verona,  doctor  of  Canon 
Law  and  a  protonotario  of  Venice.  Rabelais  mentions  Colonna, 
calling  him  "Poliphile,"  in  Gargantua,  i,  ix. 

Polia  was  long  supposed  to  have  been  a  real  woman,  but 
M.  Popelin  argues  that  she  was  an  imaginary  mistress  only. 
The  name  is  the  Greek  TroX/a,  which  may  be  rendered  *  hoar 
antiquity.'  The  Strife  of  Love  in  a  Dream  is  not  a  love-story 
at  all.  Polia's  lover  is  in  love  with  art,  especially  with  classical 
art.  Poliphilus  tells  how  he  wandered  into  a  forest  on  a  day 
of  spring  and  fell  asleep  by  a  stream,  thinking  of  Polia. 
Through  his  mind  in  dreams  there  passes  a  gorgeous  proces- 
sion of  beautiful  classic  objects,  altars,  monuments,  pyramids, 
obelisks,  palaces,  fountains,  baths,  tombs,  triumphs,  nymphs, 
gods  and  goddesses.  Polia  appears  among  a  bevy  of  nymphs 
and  accompanies  Poliphilus  to  the  island  of  Cythera.  She 
was  "sweete  and  friendly,'*  and  Poliphilus  "was  advised 
patiently  to  hope  even  with  the  bird  of  Arabia  in  hir  sweet 
nest  of  small  sprigs,  kindled  by  the  heate  of  the  sunne  to  be 
renewed."  That  is  all  that  happens  in  that  sort. 

"When  he  speaks  of  the  intoxication  of  the  senses,  as  he 
does  more  than  need  be,  the  nymphs  who  allure  him  are  ghosts 
risen  from  the  old  marbles,  or  figures  from  the  frescoes  of  his 
sympathetic  contemporaries.  Such  frescoes  of  triumphant 


SCIENCE  AND  THE  ARTS  331 


pagan  processions  were  frequently  painted  by  an  artist  of 
Treviso,  Donatello,  on  the  walls  of  the  Bishop's  palace.  We 
may  easily  fancy  Colonna  watching  these  as  they  grew  beneath 
the  painter's  hand,  revelling  in  them,  releasing  the  nymphs 
and  goddesses  from  them  in  a  book  which  is  itself  the  revel  of 
the  sensuous  Renaissance."  (Andrew  Lang.  Introduction  to 
The  Strife  of  Love  in  a  Dream,  1890.) 

252 

1594.  Giacomo  Di  Grassi  his  true  Arte  of  Defence^  plainlie 
teaching  infallahle  Demonstrations,  apt  Figures  and  perfect 
Rules  the  manner  and  forme  how  a  man  without  other  Teacher 
or  Master  may  safelie  handle  all  sortes  of  Weapons  as  well  offen- 
siue  as  defensiue:  With  a  Treatise  of  Disceit  or  Falsinge:  And 
with  a  waie  or  meane  by  priuate  Industrie  to  obtaine  Strength^ 
Judgement  and  Actiuitie.  First  written  in  Italian  by  the  fore- 
said Author,  and  Englished  by  I.  G.  gentleman. 

Printed  at  London  for  1. 1,  and  are  to  be  sold  within  Temple 
Barre  at  the  Sign  of  the  Hand  and  Starre.  1594.  4to.  British 
Museum.  Bodleian. 

Dedicated  to  "L.  Borrow,  Lord  Gouernor  of  the  Breil,  and 
Knight  of  the  Garter,"  by  the  editor,  Thomas  Churchyard. 

A  translation  of  a  work  on  fencing  by  Giacomo  di  Grassi,  a 
fencing-master  of  Treviso. 

Ragione  di  adoprar  sicuramente  V  Arme  si  da  offesa  come  da 
difesa. 

Venetia.  1570.  4 to.  British  Museum. 

253 

1594.  Examen  de  Ingenios.  The  Examination  of  Mens 
Wits.  .  .  .  In  which,  by  discovering  the  varietie  of  natures,  is 
shewed  for  what  profession  each  one  is  apt,  and  how  far  he  shall 
profit  therein.  By  John  Huarte.  Translated  out  of  the  Spanish 
tongue  by  M.  Camillo  Camilli.  Englished  out  of  his  Italian,  by 
jR.[ichard]  C[arew]  Esquire,  [and  partly  by  his  father,  Thomas 
Carew?] 


332  ELIZABETHAN  TRANSLATIONS 


Adam  Islip,  for  R.  Watkins.  London.  1594.  4to.  British 
Museum.  1596.  4to.  1604.  4to.  British  Museum,  Owned 
by  the  author.  1616.  4to.  British  Museum. 

Dedicated  to  Sir  Francis  Godolphin,  who  loaned  his  copy  of 
Camilli  to  Carew. 

The  originals  of  this  translation,  named  in  the  title,  are, 
from  the  Spanish  of  Juan  de  Dios  Huarte  Navarro,  — 

Examen  de  ingenios  para  las  scienciaSy  donde  se  muestra  la 
differencia  de  habilidades  que  ay  en  los  hombres,  y  el  genero  de 
letras  que  a  cada  uno  responde  en  particular, 

Pamplona:  1578.  8vo.  British  Museum, 

Dedicated  to  King  Philip  II. 

Camilli's  translation  of  this  is  dated  four  years  later, 
Essame  de  gV  ingegni  de  gli  huomini,  per  apprender  le  scienze: 
nel  quale,  scoprendosi  la  varieta  delle  nature,  si  nostra,  a  che 
professione  sia  atto  ciascuno,  &  quanto  prqfitto  hahbia  fatto  in 
essa.  Nuovamente  tradotto  dalla  lingua  Spagnuola  da  M.  Ca- 
millo  Camilli.  [Edited  by  Niccolo  Manassi.] 

Venice.  1582.  8vo.  British  Museum.  1586.  8vo.  British 
Museum.  Cremona,  1588,  very  rare.  1590.  8vo.  British 
Museum. 

Dedicated  to  Sig.  Federico  Pendasio. 

A  French  translation,  by  Gabriel  Chappuis,  is  dated,  Lyon, 
1580  (16mo),  and  the  work  was  also  rendered  into  Latin  and 
German,  reaching  altogether  numerous  editions  in  the  six 
languages.  The  British  Museum  Catalogue  gives  in  all  twenty- 
three  editions. 

The  latest  English  imprint  is  a  new  translation,  made  in 
1698,  by  Edward  Bellamy,  — 

Examen  de  Ingenios:  or,  the  Tryal  of  Wits.  .  .  .  Published 
originally  in  Spanish  by  Doctor  J.  Huarte,  and  made  English 
by  ilf.  Bellamy, 

London.  1698.  8vo.  British  Museum, 

Juan  de  Dios  Huarte  Navarro  was  a  Spanish  physician  who 
flourished  in  the  sixteenth  century.  His  book,  the  Examen  de 
Ingenios,  is  a  treatise  on  the  corporeal  and  mental  qualities  of 


SCIENCE  AND  THE  ARTS  333 


men  and  women.  Its  popularity  may  be  explained,  partly  by 
the  absurd  and  curious  theories  it  advances,  and  partly  by 
the  originality  and  sound  sense  it  shows;  the  book  closes, 
for  example,  with  some  excellent  ideas  on  the  rearing  of 
children. 

254 

1595.  A  most  strange  and  wonderfull  prophesie  upon  this 
troublesome  world.  Calculated  by  ,  ,  ,  I.  [Giovanni]  Cypriano: 
Conferred  with  the  judgements  of  J.[ames]  Marchecelsus  and 
Sinnior  Guivardo.  .  .  .  Whereunto  is  annexed  T.  Vandermers 
seaven  yeres  study  in  the  Arte  of  Magicky  upon  the  twelve  moneths 
of  the  yeare.  .  .  .  Translated  out  of  Italian  by  ^.[nthony]  Hoi- 
low  ay. 

London.  1595.  4to.  British  Museum, 

From  the  Italian  of  Giovanni  Cipriano. 

Tarquatus  Vandermer  published  in  1569,  — 

T.  Vandermers  seaven  yeares  studie  in  the  arte  of  Magiclce, 
upon  the  twelve  moneths  of  the  yeare:  wherein  many  secrets  are 
reveald  unto  the  world,  [London.]  1569.  4to. 

255 

1596.  A  BooJce  of  Secrets:  Shewing  divers  waies  to  make  and 
prepare  all  sorts  of  Inke,  and  Colours  .  .  .  also  to  write  with 
Gold  and  Silver ^  or  any  kind  of  Mettall  out  of  the  Pen:  with 
many  other  profitable  secrets.  .  .  .  Translated  out  of  Dutch  into 
English,  by  TF.[illiam]  P.[hilip?].  Hereunto  is  annexed  a  lit- 

tie  Treatise,  intituled.  Instructions  for  ordering  of  Wines  

Written  first  in  Italian,  and  now  newly  translated  into  English, 
by  W.  P. 

A.  Islip  for  E.  White.  London.  1596.  4to.  Black  letter. 
British  Museum. 

256 

1598.  Epulario,  or,  the  Italian  Banquet:  wherein  is  shewed 
the  maner  how  to  dresse  .  ,  .  all  kinds  of  Flesh,  Foules  or  Fishes. 
.  .  .  Translated  out  of  Italian. 


334  ELIZABETHAN  TRANSLATIONS 


Printed  by  A.  1.  for  W.  Barley.  London.  1598.  4to.  Black 
letter.  British  Museum, 

This  is  a  translation  of  a  popular  Venetian  cookery-book, 

Epulario  quale  tratta  del  modo  de  cucinare  ogni  came  ucelli 
pesci  de  ogni  sorte  r  fare  sapori,  torte^  r  pastellj  al  modo  de  tutte 
le  provjncje. 

Venetia.  1549.  8vo.  1562.  Svo.  Messina.  1606.  Svo. 
Trevigi.  1649.  Svo.  All  in  the  British  Museum. 

Epulario  very  unexpectedly  illustrates  the  nursery  rime  of 
Sing  a  song  of  sixpence.   It  contains  a  diverting  recipe,  — 

"  to  make  Pies  that  the  Birds  may  be  alive  in  them,  and  fly 
out  when  it  is  cut  up." 

257 

1598.  A  Trade  containing  the  Artes  of  curious  Paintinge, 
Caruinge  &  Buildinge  written  first  in  Italian  by  Jo:  Paul 
Lomatius  painter  of  Milan  and  englished  by  iJ.[ichard]  J?.[ay- 
docke]  student  in  Physik.  ...  * 

[Colophon].  Printed  at  Oxford  by  Joseph  Barnes  for  R.  H. 
Anno  Domini,  m  •  D  •  xc  •  viii.  Folio.  British  Museum. 

Dedicated,  "To  the  Right  Worshipfull  Thomas  Bodley 
Esquire." 

A  translation  of  Giovanni  Paolo  Lomazzo's,  Trattato  delV 
arte  de  la  Pittura  di  G.  P.  Lomazzo,  Milanese  Pittore,  diviso 
in  sette  libri  ne^  quali  si  contiene  tutia  la  Theorica  &  la  Prattica 
d*  essa  Pittura.  Milano.  1584.  4to.  British  Museum  (2 
copies). 

The  title-page  is  engraved,  and  contains  portraits  of  the 
author  and  of  the  translator.  Haydocke's  prefatory  address, 
"To  the  ingenuous  reader,"  contains  many  curious  and  inter- 
esting notes  on  painters  and  painting.  Speaking  of  the  resto- 
ration of  old  pictures  in  his  own  day,  he  says:  "For  my  selfe 
have  scene  divers  goodlie  olde  workes  finely  marred,  with 
fresh  and  beawtifull  colours,  and  vernishes:  a  singular  argu- 
ment (to  say  nothing  of  the  Owners)  of  the  bolde  and  confident 
ignorance  of  the  workemen." 


SCIENCE  AND  THE  ARTS  335 


"In  1604,  there  was  in  Oxford  a  certain  Richard  Haydock, 
a  Bachelor  of  Physic.  This  Haydock  practised  his  profession 
during  the  day  like  other  mortals,  but  varied  from  the  kindly 
race  of  men  by  a  pestilent  habit  of  preaching  all  night.  It 
was  Haydock*s  contention  that  he  preached  unconsciously  in 
his  sleep,  when  he  would  give  out  a  text  with  the  greatest 
gravity,  and  declare  such  sacred  matters  as  were  revealed  to 
him  in  slumber,  *his  preaching  coming  by  revelation.'  Though 
people  went  to  hear  Haydock,  they  were  chiefly  influenced  by 
curiosity.  *  His  auditory  was  willing  to  silence  him  by  pulling, 
haling,  and  pinching  him,  yet  would  he  pertinaciously  persist 
to  the  end,  and  sleep  still.'  The  King  [James  I.]  was  introduced 
into  Haydock's  bedroom,  heard  him  declaim,  and  next  day 
cross-examined  him  in  private.  Awed  by  the  royal  acuteness, 
Haydock  confessed  that  he  was  a  humbug,  and  that  he  had 
taken  to  preaching  all  night  by  way  of  getting  a  little  noto- 
riety, and  because  he  felt  himself  to  be  *  a  buried  man  in  the 
University.'"  (Andrew  Lang.  Oxford:  Brief  Historical  and 
Descriptive  Notes,  pp.  117-18.) 

258 

1602.  The  Theoriques  of  the  seven  Planets,  shewing  all  their 
diverse  motions,  and  all  other  Accidents,  called  Passions,  there- 
unto belonging.  .  .  .  Whereunto  is  added  ...  a  hreefe  Extract 
.  ,  .  of  Maginus  [Giovanni  Antonio  Magini]  his  Theoriques,  for 
the  better  understanding  of  the  Prutenicall  Tables,  to  calculate 
thereby  the  .  .  .  motions  of  the  Seven  Planets.  There  is  also 
.  .  .  added.  The  making,  description  and  use,  of  two  .  .  .  Instru- 
ments for  Sea-men,  to  find  out  .  .  .  the  latitude  of  any  place  .  .  . 
without  the  helpe  of  Sunne,  Moone,  or  Starr e.  First  invented 
by  .  .  ,  Doctor  Gilbert  .  .  .  and  nowe  .  .  .  set  downe  .  .  .  by  Mas- 
ter Blundevile  [Thomas  Blundeville].  2  parts. 

A.  Islip,  London,  1602.  4to.  British  Museum. 

The  *  Extract'  from  Magini  was  probably  made  from  his 

TabulcB  secundorum  mobilium  coelestium,  ex  quibus  omnium 
syderum  cequabiles  &  apparentes  motus  ad  qucevis  tempora  .... 


336  ELIZABETHAN  TRANSLATIONS 


colliguntury  congruentes  cum  observaiionihus  Copernici,  &  ca- 
nonibus  Prutenicis,  etc. 

Venetiis.  1585.  4to.  British  Museum. 

The  Prutenicall,  that  is,  Prussian  Tables  (from  Prutenus, 
Prutinus,  Pruxenus,  Prussian),  were  certain  planetary  tables 
making  the  first  application  of  the  Copernican  theory  of  the 
solar  system.  They  were  formulated,  in  1551,  by  Erasmus 
Reinbold,  and  were  named  in  honor  of  his  patron,  Albrecht, 
Duke  of  Prussia. 

259 

[1606.]  Newes  from  Rome  of  two  mighty  armies,  .  .  .  the  first 
of  the  great  sophy,  the  other  of  an  Hebrew  people  .  .  .  from  the 
mountaines  of  Caspij  .  .  .  [Signed  Signior  Valesco.] 

Also  certaine  prophecies  of  a  Jew  .  .  .  called  Caleb  Shilo[ck], 
.  .  .  Translated  out  of  Italian  .  .  ,  by  W.W, 

[London.]  Printed  by  I.  R.  for  H.  Gosson.  [1606.]  4to. 
Black  letter.  British  Museum. 

There  is  a  note  on  this  tract  in  the  Variorum  Shakespeare 
(Merchant  of  Venice y  p.  x),  but  it  is  not  there  stated  to  be  a 
translation  from  the  Italian,  and  the  date  is  given  as  1607. 
Dr.  Furness  quotes,  — 

"From  Staunton:  This  may  have  been  an  Italian  name, 
Scialocca,  the  change  of  which  into  Shylock  was  natural.  At 
all  events,  it  was  a  name  current  among  the  Jews,  for,  at  the 
end  of  an  extremely  rare  tract,  called,  'A  J  ewes  Prophecy,  or 
Newes  from  Rome  of  two  mightie  Armies,  as  well  footemen  as 
horsmen,  1607,'  is  a  piece  entitled:  *  Caleb  Shilock  his  proph- 
esie  for  the  yeere  1607,'  which  begins  as  follows:  —  *Be  it 
knowne  unto  all  men,  that  in  the  yeare  1607,  when  as  the 
moone  is  in  the  watrye  signe,  the  world  is  like  to  bee  in  great 
danger;  for  a  learned  Jew  named  Caleb  Shilock  doth  write 
that,  in  the  foresaid  yeere,  the  sun  shall  be  covered  with  the 
dragon  in  the  morning,  from  five  of  the  clocke  untill  nine  and 
will  appeare  like  fire,'  &c.  Although  pretending  to  be  a  proph- 
ecy for  the  year  1607,  this  edition  was  a  reprint  of  a  much 


SCIENCE  AND  THE  ARTS  337 


older  copy,  the  date  of  the  predicted  event  being  altered  to 
give  interest  to  the  publication. 

"  From  the  Clarendon  Shakespeare  (Clark  and  Wright) :  In 
Pepys's  Collection  of  Ballads,  Vol.  i,  p.  38,  is  one  with  the  title 
*Calebbe  Shilloclce,  his  Prophesie:  or  the  I  ewes  Prediction.  To 
the  tune  of  BragandarieJ  The  second  verse  begins,  *  And  first, 
within  this  present  yeere,  Beeing  sixteene  hundreth  seau'n.* 
The  existence  of  the  name  in  this  ballad  is  sufficient  to  show 
that  it  was  known  in  Shakespeare's  time." 

260 

1611.  The  first  ( — the  fift)  hoohe  of  Architecture,  made  by 
S.  Serly  [Sebastiano  Serlio],  .  .  .  translated  out  of  Italian  into 
Dutchy  and  out  of  Dutch  into  English.  5  parts. 

S.  Stafford.  London.  1611.  Folio.  British  Museum. 

Translated  from  II  Libro  primo  ( —  quinto)  d*  Architettura. 
5  parts. 

Venetia.  1551.  Folio.  British  Museum. 

Sebastiano  Serlio,  called  sometimes  Bastiano  da  Bologna, 
or  Sebastiano  Bolognese  was  a  painter,  an  engraver,  and  an 
architect.  Francis  I  invited  him  to  France  in  1541  to  make 
some  designs  for  the  Louvre,  and  then  employed  him  as 
architect  of  the  royal  chdteau  at  Fontainebleau.  The  first  six 
books  of  his  Regole  generali  d*  architettura  came  out  between 
1537  and  1551;  the  seventh  book  was  published  at  Frankfort 
in  1575.  It  was  translated  into  Latin  and  French  besides 
Dutch  and  English. 

261 

1618.  Opiologia,  or  a  Treatise  concerning  the  nature ,  prop- 
erties,  true  preparation,  and  safe  use  and  administration  of 
Opium.  By  Angelus  Sala  Vincentenes  Venatis,  [Angiolo  Sala] 
and  done  into  English  and  something  enlarged  by  Tho.  Bret- 
nor,  M.  M. 

N.  Okes.  London.  1618.  8vo.  British  Museum. 

This  translation,  which  is  made  from  the  French,  is  dedi- 


338  ELIZABETHAN  TRANSLATIONS 


cated  "to  the  learned  and  my  worthily  respected  friends  D. 
Bonham  and  Maister  Nicholas  Carter,  physitians." 

In  an  address  to  the  reader  Bretnor  defends  the  use  of 
laudanum  in  medicine,  promises  to  prepare  for  his  readers, 
"the  chief  est  physicke  I  use  my  selfe,"  and  mentions  as  good 
druggists  his  friends  *  Herbert  Whitfield  in  Newgate  Market* 
and  *  Maister  BromhalL' 

Thomas  Bretnor  was  a  notorious  character  in  London;  he 
is  mentioned  in  three  plays  of  the  time :  — 

By  Ben  Jonson,  in  The  Devil  is  an  Ass  (1616),  i,  2. 

By  Middleton,  in  The  Fair  Quarrel  (1617),  v,  1  (as  the 
almanac-maker) . 

By  Fletcher,  in  The  Bloody  Brother,  or  Rollo  Duke  of  Nor- 
mandy (1640),  where  he  is  Norhret. 

262 

1622.  The  Italian  Prophecier.  That  is,  a  prognostication 
made  for  the  yeere  .  .  .  1622.  Practised  hy  A.  Magino  [Giovanni 
Antonio  Magini]  .  .  .  translated  out  of  Italian  into  Dutch,  and 
now  into  English. 

[?]  1622.    4to.  British  Museum, 

263 

1623.  A  Revelation  of  the  secret  spirit.  Declaring  the  most 
concealed  secret  of  Alchymie.  Written  first  in  Latine  hy  an  un- 
hnowne  author,  hut  explained  in  Italian,  hy  John  Baptista 
Lamhye  [Giovanni  Battista  Lambi],  Venetian.  Lately  trans- 
lated into  English,  hy  R.  N.  E.  Gentleman  [Robert  Napier,  Esq.? 
or  "of  Edinburgh?"]. 

John  Haviland  for  Henrie  Skelton.  London.  1623.  16mo. 
80  pp.  British  Museum, 

264 

1624.  A  Strange  and  Wonderfull  Prognostication:  or  rather, 
Prenomination  of  those  Accidents  which  shall,  or  at  least  are  likely 
to  happen,  as  may  he  conjectured  hy  the  heavenly  Influences.  .  .  . 


SCIENCE  AND  THE  AKTS  339 


Now  faithfully  translated  into  English  [out  of  the  Italian  of 
Giovanni  Antonio  Magini]. 

Printed  for  N.  Butter.  London.  1624.  4to.  British 
Museum. 

265 

1634.  Hygiasticon:  or,  the  right  course  of  preserving  Life  and 
Health  unto  extream  old  Age.  .  .  .  Written  in  Latin  hy  Z.[eo- 
nardus]  Lessius  and  now  done  into  English  [by  Timothy 
Smith]  {Luigi  Cornaro^s  Treatise  of  Temperance  and  Sohrietie, 
translated  by  Master  George  Herbert.  —  A  Discourse  translated 
out  of  Italian,  That  a  spare  diet  is  better  than  a  Splendid  and 
Sumptuous.)  The  second  edition.  2  parts. 

Printed  by  the  Printers  to  the  Universitie  of  Cambridge. 
1634.  12mo.  British  Museum. 

This  is  a  translation  of  Leonard  Lessius's. 

Hygiasticon  seu  vera  ratio  valetudinis  bonce  et  vitos,  una  cum 
sensuum  judicii  et  memories  integritate  ad  extremam  senectutem 
coservandce, 

Antverpiw.  1613.  8vo.  British  Museum. 

Editio  secunda  .  .  .  subjungitur  Tractatus  L.  Cornari  de  vitce 
sobrice  [Trattato  de  la  vita  sobria]  .  .  .  eodem  pertinens  .  .  .  ab 
ipso  Lessio  Translatus. 

Antverpice.  1614.  8vo.  British  Museum     copies) . 

The  Dictionary  of  National  Biography  says  that  George 
Herbert  contributed,  in  prose,  to  his  friend  Nicholas  Ferrar's 
English  translation  of  Lessius's  Hygiasticon,  sl  translation  from 
the  Latin  of  Cornaro's  discourse,  entitled,  A  Treatise  of  Tem- 
perance and  Sobrietie,  and  made  at  the  request  "of  a  noble 
personage.'*  This  was  first  published  at  the  Cambridge  Uni- 
versity Press  in  1634.  It  was  probably,  'TryiacrTLKov:  or  The 
Right  Course  of  Preserving  Life  and  Health  to  extreme  old  age. 
Translated  from  the  Latin. 

Cambridge.  1634.  12mo.  1678.  8vo. 

Luigi  Cornaro,  1467-1566,  was  of  a  noble  Venetian  family. 
Delicate  by  constitution,  at  the  age  of  forty  he  found  his 


340  ELIZABETHAN  TRANSLATIONS 


health  much  impaired  by  his  indulgences  and  determined  to 
change  his  whole  manner  of  life.  He  restricted  himself  to 
twelve  ounces  of  solid  food  and  fourteen  ounces  of  wine  a  day, 
and  endeavored  to  cultivate  a  gay  and  amiable  disposition, 
he  was  said  to  have  been  naturally  sober  and  morose.  His 
health  was  completely  restored,  and  he  died  at  the  age  of 
ninety-nine.  Between  the  ages  of  eighty  and  ninety-five,  he 
published  in  four  parts,  his 

Discorsi  delta  vita  sobriay  ne'  quali  con  V  esempio  di  se  stesso, 
dimostra  con  quali  mezzi  possa  V  uomo  conservarsi  sano  fino  alV 
ultima  vecchiezza. 

Padua.  1558.  8vo.  (Three  parts  only.)  Venice.  1599.  Svo. 
and  1620.  Svo.  (Complete.)  Venice.  1666.  Svo,  done  in 
Italian  verse. 

Besides  the  Latin  of  Leonard  Lessius,  the  work  was  trans- 
lated into  most  of  the  European  languages,  and  was  repeatedly 
reprinted.  An  English  edition  in  the  British  Museum  is  de- 
scribed in  the  book-lists  as  the  *  fifty-fifth.' 

A  recent  American  edition  is,  — 

The  Art  of  Living  Long.  A  New  and  Improved  English  Ver- 
sion of  the  Treatise  of  the  Celebrated  Venetian  Centenarian  Louis 
Cornaro.  With  Essays  by  Joseph  Addison,  Lord  Bacon,  and  Sir 
William  Temple. 

Milwaukee.  William  F.  Butler.  1903. 

The  essay  by  Addison  is  from  The  Spectator,  October  13, 
1711;  that  from  Bacon  is  an  arrangement  of  passages  from 
the  History  of  Life  and  Death;  that  from  Temple  is  also  an 
arrangement,  the  extracts  being  taken  from  Health  and  Long 
Life. 

"And  now  I  remember  and  find  that  true  which  devout 
Lessius  says,  *that  poor  men,  and  those  that  fast  often,  have 
much  more  pleasure  in  eating  than  rich  men  and  gluttons, 
that  feed  before  their  stomachs  are  empty  of  their  last  meat, 
and  call  for  more:  for  by  that  means  they  rob  themselves  of 
that  pleasure  that  hunger  brings  to  poor  men.'  And  I  do 
seriously  approve  of  that  saying  of  yours,  *that  you  would 


SCIENCE  AND  THE  ARTS  341 


rather  be  a  civil,  well-governed,  well-grounded,  temperate, 
poor  angler,  than  a  drunken  lord.'  But  I  hope  there  is  none 
such."  (Izaak  Walton,  The  Compleat  Angler,  Part  i.  Chap,  v.) 

266 

1638.  A  Learned  Treatise  of  Globes,  both  Coelestiall  and  Ter- 
restriall.  .  .  .  Written  first  in  Latine.  .  .  .  Afterward  illustrated 
with  notes,  by  J.  J.  Pontanus.  And  now  .  .  .  made  English  .  .  . 
By  J.[ohn]  Chilmead,  etc. 

Printed  by  the  Assigne  of  T.  P.  for  P.  Stephens  and  C. 
Meredith.  London.  1638.  8vo.  British  Museum. 

From  the  Latin  of  Robert  Hues,  — 

Tractatus  de  Globis  et  eorum  Usu,  accommodatus  iis  qui 
Londini  editi  sunt  anno  1593,  etc. 

In  cedibus  Thomae  Dawson,  Londini,  1594.  Svo.  British 
Museum. 

Reprinted  for  the  Hakluyt  Society  (1889),  edited  by  Clem- 
ents R.  Markham. 

The  Learned  Treatise  of  Globes  is  usually  attributed  to 
Edmund  Chilmead  with  apparent  correctness."  (Dictionary  of 
National  Biography.) 

See  Tractatus  de  Globis  et  eorum  Usu,  etc.  (1594). 

267 

1658.  Natural  Magick;  wherein  are  set  forth  all  the  riches  and 
delights  of  the  Natural  Sciences  .  .  .  in  twenty  bookes. 

T.  Young  and  S.  Speed.  London.  1658.  4to.  409  pp.  With 
a  second  title-page  engraved.  British  Museum. 

A  translation  of  Giovanni  Battista  della  Porta's, 

MagioB  Naturalis,  sive  de  miraculis  rerum  naturalium  libri 
IIIL  163  pp. 

M.  Cancer.  Neapoli.  1558.  Folio.  British  Museum. 

Frequently  reprinted.  The  British  Museum  contains  editions 
of  1561,  1564,  1589  {Neapoli.  Libri  xx.  Folio),  1607,  1619, 
1651,  and  1664. 


VII 

GRAMMARS  AND  DICTIONARIES 


VII 


GRAMMARS  AND  DICTIONARIES 
268 

1550.  Principal  Rules  of  the  Italian  Grammer,  with  a  Die- 
tionarie  for  the  better  understanding  of  Boccace,  Petrarca^  and 
Dante  :  gathered  into  this  tongue  by  William  Thomas.  2  parts. 

Londini.  An.  M.D.L.  [Colophon.]  Imprinted  at  London  in 
Fletestrete,  in  the  House  of  Thomas  Berthelet.  Cum  priuilegio 
ad  imprimendum  solum.  Anno  dni.  1550.  4to.  Black  letter. 
British  Museum.  Harvard.  1560.  4to.  1562.  4to.  Black  letter. 
British  Museum.  1567.  4to.  Black  letter.  British  Museum, 
Harvard.  1724.  4to.  (Watt.) 

Forv^arded,  "from  Padoa  the  thirde  of  Februarie,  1548," 
by  William  Thomas,  to  his  "  verie  good  f riende  Maister  [John] 
Tamwoorth,  at  Venice,"  and  published  upon  the  approval  of 
Sir  Walter  Mildmay. 

This  is  the  first  Italian  grammar  and  dictionary  printed  in 
England;  it  was  written  in  Italy,  and  the  Dictionarie  is  de- 
scribed as  "  taken  out  of  the  two  books  in  Italian,  called  Achari- 
sius  and  Ricchezze  delta  lingua  volgare.'* 

Alberto  Accarigi  da  Cento,  fl.  1537-62,  was  the  author  of 
two  word-books,  — 

La  Grammatica  volgare  di  M.  A.  de  gV  Acharsi  da  Cento. 
Vinegia  (1537,  4!iOy  British  Museum),  and  Vocabolario,  gram- 
matica et  orthographia  de  la  lingua  volgare  d'  A.  Acharisio; 
con  ispositioni  di  molti  luxyghi  di  Dante,  del  Petrarca,  et  del 
Boccaccio.  Cento.  (1543,  4to,  British  Museum,  2  copies.) 

Francesco  Alunno  was  the  author  of,  Le  ricchezze  delta  lingua 
volgare. 

Figliuoli  di  Aldo.  Venegia.  1543.  Folio.  British  Museum, 
A  second  word-book  of  Alunno's  may  also  have  been  sug- 
gestive to  Thomas;  it  is  entitled,  — 


346  ELIZABETHAN  TRANSLATIONS 


La  fabrica  del  mondo,  nella  quale  si  contengono  tutte  le  voci 
di  Dantey  del  Petrarca,  del  Boccaccio  &  d' altri  buoni  autori, 
con  la  dichiaratione  di  quella,  &  con  le  sue  interpretationi 
Latine,  con  le  quali  si  ponno  scrivendo  isprimere  tutti  i  concetti 
deir  huomo  di  qualunque  cosa  creata. 

Vinegia.  1548.  Folio  (colophon  dated  1546) .  British  Mu- 
seum (also  four  later  editions) . 

William  Thomas  was  a  native  of  Wales,  and  was  educated 
at  Oxford.  In  1544,  "constrained  by  misfortune  to  habandon 
the  place  of  my  nativity"  (beginning  of  The  Pilgrim),  he  went 
to  Italy,  where  we  hear  of  him,  in  1546,  at  Bologna,  and,  from 
the  dedication  of  the  Principal  Rules,  at  Padua,  in  1548. 

In  1549,  he  was  again  in  London,  and  on  account  of  his 
knowledge  of  modern  languages,  was  made  clerk  of  the  Coun- 
cil to  King  Edward  VI.  In  the  autumn  of  the  year  1552, 
Thomas  submitted  eighty-five  political  questions  for  the  young 
King's  consideration.  Edward  agreed  to  receive  essays  from 
him  from  time  to  time  on  stipulated  subjects,  and  Thomas 
submitted  papers  on  foreign  affairs,  on  a  proposal  to  reform 
the  debased  currency,  and  on  forms  of  government.  The  paper 
on  foreign  affairs  is  one  of  the  Cotton  MSS.  {Vespasian  D. 
Bodleian)  and  is  entitled, 

"My  private  opinion  touching  your  Majesty's  outward 
affairs  at  this  present." 

Strype  printed  it  in  his  Memorials,  Vol.  iv,  p.  352. 

Subsequently  King  Edward  gave  Thomas  a  prebend  of  St. 
Paul's,  and  the  living  of  Presthend,  in  South  Wales,  appoint- 
ments which  Strype  goes  on  to  say  were  procured  unfairly, 
Thomas  not  being  a  spiritual  person,  an  "ungodly  man," 
complained  Bishop  Ridley,  in  whose  diocese  lay  the  benefice, 
which  was  bestowed  over  his  head. 

Upon  the  accession  of  Queen  Mary,  Thomas  joined  in  the 
rising  of  Sir  Thomas  Wyatt,  for  which  he  was  executed  for  high 
treason,  at  Tyburn,  May  18,  1554.  (Froude,  History  of  Eng- 
land, Vol.  VI,  Chap.  31,  and  Report  of  Deputy  Keeper  of  the 
Public  Records,  Vol.  iv,  p.  248.) 


GRAMMARS  AND  DICTIONARIES  347 


Besides  the  Principal  Rules y  William  Thomas  also  wrote 
The  Historie  of  Italic,  an  interesting  and  rare  book,  which  came 
to  four  editions  between  1549  and  1562,  in  spite  of  the  fact  that 
it  is  said  to  have  been  "suppressed  and  publicly  burnt"  after 
the  execution  of  the  author.  Anthony  a  Wood  quotes  Bishop 
Tanner  for  the  statement  that  Thomas  translated  from  the 
Italian  two  works,  called,  The  Laws  of  Republics  and  On  the 
Roman  Pontiffs.  A  veritable  translation  of  his,  written  for  the 
use  of  King  Edward  VI,  has  been  printed  by  the  Hakluyt 
Society,  1873;  it  is  an  account  of  the  two  voyages  of  Giosafat 
Barbaro  into  Tana  and  Persia. 

See  Travels  to  Tana  and  Persia  by  Josafa  Barbaro  and  Ara- 
brogio  Contarini  (1873). 

269 

1568.  The  Enimie  of  Idlenesse:  Teaching  the  maner  and  stile 
howe  to  enditCy  compose  and  write  all  sorts  of  Epistles  and  Letters: 
as  well  by  answer,  or  otherwise.  Set  forth  in  English  by  William 
Fulwood,  Mar  chant. 

London.  By  Henry  Bynneman  for  Leonard  Maylard. 
1568.  8vo.  Black  letter.  British  Museum.  Also,  1571.  16mo. 
(Lowndes.)  12mo.  (Warton):  1578.  8vo.  British  Museum: 
1586.  8vo.  British  Museum:  1593.  8vo.  British  Museum: 
1598.  16mo.  (Lowndes):  1621.    8vo.  British  Museum. 

Dedicated  to  the  "Master,  Wardens,  and  Company  of 
Marchant  Tayllors."  Full  wood  was  a  member  of  the  Merchant 
Taylors'  Company. 

The  Enimie  of  Idlenesse,  whose  seven  editions  prove  it  to 
have  been  a  very  popular  book,  consists  of  four  parts,  in  prose 
and  verse. 

Part  I,  with  much  original  matter,  contains  translations 
from  Cicero  and  the  ancients. 

Part  II  contains  translations  from  Politian,  Ficino,  Merula, 
Giovanni  Pico  della  Mirandola,  and  other  Italian  scholars. 

Angelo  Poliziano,  1454-94,  carried  on  a  wide  correspond- 
ence with  the  distinguished  literary  men  of  his  time,  and  many 


348  ELIZABETHAN  TRANSLATIONS 


of  the  letters  were  published  in  Illustrium  virorum  epistolce, 
ah  A.  Politiano  partim  scriptce,  partim  collectoB.  (Paris.  1519, 
1523,  1526.  4to.  Lyons.  1539.  8vo.  Basle,  1542.  Svo.) 

Marsilio  Ficino,  1433-99,  wrote  Epistolarum  libri  duo- 
decim.  (Venice.  1495.  Folio.) 

Giorgio  Merula,  1424(?)-94,  wrote  In  Philadelphum  Epis- 
tolcB  duoB.  (Venice.  1480.  4to.) 

Giovanni  Pico  della  Mirandola,  1463-94,  left  some  letters 
which  were  published  after  his  death,  under  the  title  Aurece 
ad  familiares  epistoloe,  (Paris.  1499.  4to.) 

Part  III  contains  practical  and  personal  letters,  mostly 
original. 

Part  IV  shows  *how  to  endite'  a  love-letter  by  giving  ex- 
amples of  six  metrical  love-letters,  besides  some  prose  speci- 
mens. Subsequent  editions  contain  seven  metrical  letters, 
with  other  augmentations. 

Fullwood's  verse  is  spirited  and  vigorous. 

270 

1575.  An  Italian  Grammer  Written  in  Latin  by  Sdpio  Len- 
tulo  a  Neapolitaine  and  turned  in  Englishe  by  H.  G. 

Imprinted  at  London  by  Thomas  VautroUier  dwelling  in 
the  Blacke  frieres.  1575.  Oct.  Svo.  Pp.  155.  British  Museum 
(2  copies).  Bodleian,    1578.  Svo. 

La  Grammatica  di  M,  S.  Lentulo  .  .  .  da  lui  in  latina  lingua 
Scritta,  &  hora  nella  Italiana  <Sc  Inglese  tradotta  da  H.  G.  An 
Italian  Grammar  .  .  .  turned  into  Englishe  by  H.  Granthan, 
MS.  Additions. 

T.  VautroUier.  London.  1587.  Svo.  British  Museum. 
Bodleian. 

Dedicated  "to  the  right  vertuous  Mystres  Mary,  and 
Mystres  Francys  Berkeley  daughters  to  the  Right  honorable 
Henry  Lorde  Berkelye,"  to  whom  the  translator,  Henry 
Granthan,  was  tutor. 

Quaritch  records,  S.  Lentuli.  Italicoe  Grammatices  Insti- 
tutio.  Venice.  1578.  Sm.  4to. 


GRAMMARS  AND  DICTIONARIES  349 


271 

1578.  Florio  his  first  Frutes;  which  yeelde  familiar  Speech^ 
merie  Prouerhsy  wittie  Sentences^  and  golden  Sayings.  Also  a 
perfect  Introduction  to  the  Italian  and  English  Tongues. 

London.  [T.  Dawson.  1578.]  4to.  British  Museum.  1591. 
4 to.  (Lowndes.) 

Dedicated  to  Robert  Dudley,  Earl  of  Leicester. 

Florio's  First  Frutes  consist  mainly  of  simple  dialogues  in 
Italian  and  English. 

272 

1578.  A  comfortable  ayde  for  Schollers,  full  of  variety  of  sen- 
tences, gathered  out  of  an  Italian  authour,  (intituled  in  that 
tongue,  Speechio  de  la  lingua  Latina,)  by  D.  Rowland, 

T.  Marshe.  London.  1578.  8vo.  British  Museum. 

D.  Rowland  is  David  Rowland  of  Anglesey,  who  subse- 
quently translated  from  the  Spanish  the  first  part  of  La  Vida 
de  Lazarillo  de  Tormes,  by  Don  Diego  Hurtado  de  Mendoza. 
(1554.  8vo.  British  Museum.)  This  novel,  the  forerunner  of 
Mateo  Aleman's  Guzman  de  Alfarache,  Lesage*s  Gil  Bias,  and 
numerous  other  imitations  in  the  gusto  picaresco,  became  ex- 
tremely popular  and  was  frequently  translated  into  various 
languages.  Ticknor  {History  of  Spanish  Literature,  1872,  Vol. 
I,  p.  552,  Note)  states  that  above  twenty  editions  of  Row- 
land's English  translation,  The  Pleasant  History  of  Lazarillo 
de  Tormes  (1576,  dedicated  to  Sir  Thomas  Gresham,  no  copy 
known.  1586.  Sm.  8vo.  1596.  4to.  British  Museum)  are 
known. 

A  lively  account  of  Lazarillo  will  be  found  in  the  Retro- 
spective  Review,  Vol.  ii,  p.  133. 

273 

1583.  Campo  di  Fior,  or  else  The  Flourie  Field  of  Foore  Lan- 
guages of  M.  Claudius  Desainliens,  alias  Holiband:  For  the 
furtherance  of  the  learners  of  the  Latine,  French,  English,  but 
chieflie  of  the  Italian  Tongue,  Dum  spiro,  spero. 


350  ELIZABETHAN  TRANSLATIONS 


Imprinted  at  London  by  Thomas  VautroUier  dwelling  in  tlie 
Blacke-Friers  by  Lud-gate.  1583.  Small  8vo.  British  Museum. 

Dedicated  to  Mistress  Luce  Harington,  daughter  of  John 
Harington,  Esq. 

"Different  from  Palsgrave,  who  would  not  sell  his  gram- 
mars to  all  comers,  for  fear  of  losing  his  pupils,  Saint-Lien  sold 
his  by  the  hundred,  and  resorted  to  other  means  to  fill  his 
school;  he  inserted  in  his  books  familiar  dialogues  on  himself, 
in  which  he  gave  his  address,  *  teaching  in  Paules  churchyard 
by  the  signe  of  the  Lucrece,'  i.e.  over  Thomas  Purfoot's  sta- 
tionery shop,  and  his  terms,  and  disparaged  other  teachers,  of 
whom  so  many,  alas!  are  'fort  negligeus  et  paresseux,'  quite 
the  reverse  of  one  whom  intelligent  people  give  as  a  master 
to  their  boys :  — 

"  *Jan,  comment  s'appelle  ton  maistre  ? 
II  s'appelle  M.  Claude  de  Sainliens.'  '* 

(J.  J.  Jusserand.  "  French  Ignorance  of  English  Literature 
in  Tudor  Times."  The  Nineteenth  Century,  April,  1898.) 

274 

1588.  The  Arcadian  Rhetorike,  or  the  Precepts  of  Rhetorike 
made  plaine  hy  Examples  Greeke,  Latyne,  Englysshe,  Italyan, 
Frenche,  Spanishe,  out  of  Homer^s  Ilias  and  Odissea,  Virgil's 
lEglogs,  Georgikes  &  jEneis,  Songs  and  Sonets,  Torquato  Tas- 
soes  Gqffredo,  Aminta,  Torrismondo,  Salust  his  ludith,  and  both 
his  semaines  Boscan  6c  Garcilassoes  sonets  and  JEglogs. 

London,  by  Thomas  Orwin.  1588.  8vo.  Bodleian. 

The  Arcadian  Rhetorike  is  a  mixture  of  prose  and  verse,  val- 
uable for  its  EngKsh  examples  drawn,  as  the  title  shows,  from 
a  great  variety  of  sources. 

275 

1591.  Florios  Second  Frutes  to  be  gathered  of  twelve  Trees  of 
diuers  but  delightsome  tastes  to  the  tongues  of  Italian  and  English 
men.  To  which  is  annexed  his  Gar  dine  of  Recreation,  yeelding 
six  thousand  Italian  proverbs,  Ital.  and  Eng. 


GRAMMARS  AND  DICTIONARIES  351 


Printed  for  Thomas  Woodcock  dwelling  at  the  Black-beare. 
London.  1591.  4to.  British  Museum. 

Dedicated  to  Nicholas  Saunders  of  Ewell.  In  this  dedica- 
tion Florio  mentions  Castilion's  Courtier  and  Guazzo  his  di- 
alogues** as  the  two  books  most  commonly  read  by  those  who 
wished  to  learn  a  little  Italian. 

The  Second  Frutes  is  a  collection  of  Italian  and  English 
dialogues,  with  a  reprint  of  Florio's  Giardino  di  Ricreatione^ 
of  the  same  year,  and  by  the  same  publisher. 

There  is  an  Italian  proverb  in  Love's  Labours  Lost,  iv,  2, 
which  Shakspere  may  have  taken  from  Florio  (p.  106),  where 
it  is  given,  — 

Venetia,  chi  non  ti  vede,  non  ti  pretia; 
Ma  chi  ti  vede,  ben  gli  costa. 

Shakspere  puts  it,  — 

Venegia,  Venegia, 
Chi  non  te  vede,  ei  non  te  pregia. 

The  proverb  occurs  in  Howell's  Letters,  with  a  third  varia- 
tion, — 

Venetia,  Venetia,  chi  non  te  vede,  non  te  pregia. 
Ma  chi  V  ha  troppo  veduto  te  dispregia. 

See  The  Familiar  Letters  of  James  Howell.  Edited,  Anno- 
tated, and  Indexed,  by  Joseph  Jacobs. 

London.  David  Nutt,  1892,  the  letter  "To  Robert  BrowTi, 
Esq.,  at  the  Middle-Temple.  From  Venice,  12  Aug.,  1621." 

This  Italian  proverb  occurs  also  in  Florio*s  First  Frutes 
(1578,  p.  34),  and  in  James  Sandford's  The  Garden  of  Pleasure 
(1573,  p.  223). 

H.  H.  Furness.  Loues  Labours  Lost.  Variorum  (1904,  pp. 
150-51). 

One  of  Pistol's  string  of  proverbs,  in  Henry  V,  ii,  2,  "Pitch 
and  pay,"  is  also  in  Florio's  collection;  there  it  is,  "Pitch  and 
pay,  and  go  your  way." 

See  The  Eglogs  of  the  Poet  B.  Mantuan  (1567). 


352  ELIZABETHAN  TRANSLATIONS 


276 

1597.  The  Italian  Schoole-maister:  Contayning  Rules  for  the 
perfect  pronouncing  of  tK  italian  tongue:  With  familiar  speeches: 
.  .  .  And  certaine  Phrases  taken  out  of  the  best  Italian  Authors. 
And  a  fine  Tuscan  historie  called  Arnalt  &  Lucenda.  A  verie 
easie  way  to  learne  tK  italian  tongue.  Set  forth  by  Clau.  Holli- 
band^  Gentl.  of  Bourbonnois.  Dum  spiro  spero. 

At  London.  Printed  by  Thomas  Purfoot.  1597.  Sm.  8vo. 
British  Museum. 

Dedicated,  "To  the  most  vertuous  and  well  giuen  Gentle- 
man Maister  Jhon  Smith." 

The  Italian  Schoole-maister.  Revised  and  corrected  by  F.  P. 
an  Italian,  professor  and  teacher  of  the  Italian  tongue. 

At  London,  Printed  by  Thomas  Purfoot.  1608.  Bvo.  Brit- 
ish Museum.  Lowndes  gives  also  1583,  16mo,  and  1591,  16mo. 

The  editions  of  1597  and  1608  contain  Arnalte  and  Lucenda. 

See  Holyband's  The  pretie  and  wittie  Historie  of  Arnalte  and 
Lucenda  (1575),  and  Leonard  Lawrence's  poem,  A  small 
Treatise  betwixt  Arnalte  and  Lucenda  (1639). 

277 

1598.  A  Worlde  of  WordeSy  or  Most  copious ^  and  exact  Die- 
tionarie  in  Italian  and  English,  collected  by  lohn  Florio. 

Printed  at  London,  by  Arnold  Hatfield  for  Edw.  Blomit, 
1598.  4to.  British  Museum  (2  copies). 

Dedicated,  "To  the  Right  Honorable  Patrons  of  Vertue, 
Patterns  of  Honor,  Roger  Earle  of  Rutland,  Henrie  [Wriothes- 
ley]  Earle  of  Southampton,  Lucie  Countesse  of  Bedford.'* 

It  is  in  this  dedication  that  Florio  calls  himself,  "Resolute 
John  Florio." 

Qveen  Annans  New  World  of  words,  or  Dictionarie  of  the 
Italian  and  English  tongues.  Collected,  and  newly  much  aug- 
mented by  lohn  Florio,  Reader  of  the  Italian  vnto  the  Soueraigne 
Maiestie  of  Anna,  Crowned  Queene  of  England,  Scotland, 
France  and  Ireland,  <Scc,  And  one  of  the  Gentlemen  of  Mr  Royall 


GRAMMARS  AND  DICTIONARIES  353 


Priuie  Chamber.  Whereunto  are  added  certaine  necessarie  rules 
and  short  ohseruations  for  the  Italian  tongue. 

London.  Printed  by  Melch.  Bradwood  for  Edw.  Blount  and 
William  Barret.  Anno  1611.  Folio.  With  a  portrait  of  Florio, 
engraved  by  W.  Hole.  British  Museum  (2  copies). 

An  appendix  of  seventy-three  pages,  with  a  separate  title- 
page,  gives, 

"Necessary  Rules  and  short  observations  for  the  True  Pro- 
nouncing and  Speedie  Learning  of  the  Italiany  collected  for 
Queen  Anne.'* 

Dedicated  to  Queen  Anne,  in  Italian  and  in  English. 
Florio  was  appointed  reader  in  Italian  to  Queen  Anne, 
1603. 

Vocabolario  Italiano  &  Inglese,  A  Dictionary  Italian  & 
English.  Formerly  Compiled  by  John  Florio,  and  since  his  last 
Edition,  Anno  1611,  augmented  by  himself e  in  His  life  time, 
with  many  thousand  Words,  and  Thuscan  Phrases.  Now  most 
diligently  Revised,  Corrected,  and  Compared,  with  La  Crusca, 
and  other  approved  Dictionaries  extant  since  his  Death;  and 
enriched  with  very  considerable  Additions.  Whereunto  is  added 
A  Dictionary  English  &  Italian,  with  severall  Proverbs  and  In- 
structions for  the  speedy  attaining  to  the  Italian  Tongue.  Never 
before  Published.  By  Gio:  Torriano  An  Italian,  and  Professor 
of  the  Italian  Tongue  in  London. 

London.  Printed  by  T.  Warren  for  Jo.  Martin,  Ja.  Allestry, 
and  Tho.  Dicas,  and  are  to  be  sold  at  the  Signe  of  the  Bell  in 
S.  Pauls  Church- Yard,  mdclix.  Folio.  British  Museum. 

Dedicated  by  the  author,  "  AlV  IIV^.  Sig^.  Andrea  Riccard, 
Gouematore  dell*  Honor atissima  Compagnia,  de*  Signori  Nego- 
tianti  di  Turchia  in  Londra,  et  al  Multo  IW^.  Sig^.  Gulielmo 
Williams  Sotto-governatore  a*  molto  IIP.  Sig^*.  Assistenti  di 
delta  Compagnia.** 

Dedicated  by  the  publishers,  John  Martin,  James  Allestry, 
and  Thomas  Dicas,  "To  Their  most  Honoured  Friend,  Mr. 
James  Stanier,  Merchant  in  London"  (a  member  of  the  Com- 
pany of  Turkey  Merchants), 


354  ELIZABETHAN  TRANSLATIONS 


Torriano*s  English  and  Italian  dictionary  has  a  separate 
title-page,  — 

Vocaholario  Inglese  &  Italiano:  A  Dictionary  English  and 
Italian:  Compiled  for  the  use  of  both  Nations.  As  also  a  brief 
Introduction  Unto  the  Italian  Tongue:  and  severall  Italian 
Proverbs,  With  the  English  Interpretation  to  them.  Never  before 
Published.  By  Gio:  Torriano,  An  Italian;  and  Professor  of 
the  Italian  Tongue  in  London. 

London.  Printed  by  J.  Roy  croft  for  Jo:  Martin,  Ja:  Alles- 
trye,  and  Tho:  Dicas,  and  are  to  be  sold  at  the  signe  of  the  Bell 
in  S.  Pauls  Church-Yard.  1659. 

Dedicated  by  the  author,  in  ItaHan,  "AlU  Iir\  Sig\  Carlo 
Fra''°  Guadagni  Nobile  Fiorentino;"  and  in  English,  "To  all 
who  desire  to  learn  the  Italian  Tongue." 

[Another  edition.]  Reprinted,  revised,  and  corrected  by 
J.  D.[avis]  M.  D.  London.  1688-87.  Folio.  British  Museum. 
1690.  Folio.  (Allibone.) 

The  English-Italian  Dictionary  has  a  distinct  title-page  and 
pagination,  and  is  marked  *  second  edition.' 

Dedicated  to  Maria  d'Este,  Queen  of  England. 

Florio  on  the  usefulness  of  his  Dictionarie  in  the  explanation  of 
Italian  writers 

"Yet  heere-hence  may  some  good  accrewe,  not  onelie  to 
truantlie-schoUers,  which  euer-and-anon  runne  to  Venuti,  and 
Alunno;  or  to  new-entred  nouices,  that  hardly  can  construe 
their  lesson;  or  to  well-forwarde  students,  that  haue  turnd 
ouer  Guazzo  and  Castiglione,  yea  runne  through  Guarini, 
Ariosto,  TassOy  Boccace,  and  Petrarche:  but  euen  to  the  most 
compleate  Doctor;  yea  to  him  that  best  can  stande  AWerta 
for  the  best  Italian,  heereof  sometimes  may  rise  some  vse :  since, 
haue  he  the  memorie  of  Themistocles,  of  Seneca,  of  Scaliger, 
yet  is  it  not  infinite,  in  so  finite  a  body.  And  I  haue  scene  the 
best,  yea  naturall  Italians,  not  onely  stagger,  but  euen  sticke 
fast  in  the  myre,  and  at  last  giue  it  ouer,  or  giue  their  verdict 
with  An  ignoramus »  Boccace  is  prettie  hard,  yet  vnderstood: 


A 


GRAMMARS  AND  DICTIONARIES  355 


Petrarche  harder,  but  explaned :  Dante  hardest,  but  commented. 
Some  doubt  if  all  aright.  Alunno  for  his  foster-children  hath 
framed  a  worlde  of  their  wordes.  Venuti  taken  much  paines  in 
some  verie  fewe  authors;  and  our  William  Thomas  hath  done 
prettilie;  and  if  all  faile,  although  we  misse  or  mistake  the 
worde,  yet  make  we  vp  the  sence.  Such  making  is  marring. 
Naie  all  as  good;  but  not  as  right.  And  not  right,  is  flat  wrong. 
One  saies  of  Petrarche  for  all :  A  thousand  strappadas  coulde  not 
compell  him  to  confesse  what  some  interpreters  will  make  him 
saie  he  ment.  And  a  ludicious  gentleman  of  this  lande  will 
vphold,  that  none  in  England  vnderstands  him  thoroughly.'' 
(Florio,  A  Worlde  of  Wordes,  Epistle  dedicatorie  (1598),  pp.  [4-5.]) 

278 

1612.  The  Passenger:  of  Benvenuto  Italian,  Professour  of  his 
Natiue  Tongue,  for  these  nine  yeeres  in  London.  Diuided  into 
two  Parts,  containing  seauen  exquisite  Dialogues  in  Italian  and 
English:  The  Contents  whereof  you  shall  finde  in  the  end  of  the 
Booke.  .  .  . 

London.  Printed  by  T.  S.  for  John  Stepneth,  and  are  to 
be  solde  at  his  Shop  at  the  West-end  of  Paules  Church.  1612. 
4to. 

Dedicated  to  Prince  Henry. 

The  British  Museum  title  runs,  — 

II  Passaggiere  di  Benvenuto  Italiano  .  .  .  diviso  in  due  parti, 
che  contengano  [sic]  sette  esquisiii  Dialoghi,  etc,  2  parts.  ItaL 
and  Eng. 

Stampato  da  T.  S.,  por  R.  Redmer,  Londra,  1612.  4 to.  Pp. 
611.  British  Museum  (3  copies). 

The  Passenger  contains  numerous  quotations  from  the  chief 
Italian  poets,  translated  without  rhyme,  but  rhythmically, 
apparently  by  Benvenuto  himself. 

Benvenuto  is  also  the  author  of  a  vehement  attack  upon  the 
temporal  power  of  the  papacy,  published,  in  London,' in  Italian, 
in  1617. 

See  Scala  Politica  delV  Abominatione  e  Tirannia  Papale  (1617) . 


356  ELIZABETHAN  TRANSLATIONS 


279 

1639.  New  and  Easie  Directions  for  Attaining  the  Thuscan 
Italian  Tongue.  Comprehended  in  Necessary  Rules  of  Pro- 
nunciation, Rules  of  Accenting,  by  way  of  Alphabet:  With  a 
NomenclatoTy  or  little  Dictionarie  ,  .  .  By  Gio.  Torriano,  an 
Italian,  and  Professour  of  the  same  within  the  City  of  London. 

Printed  by  R.  O.  for  Ralph  Mab.  1639.  [8vo.]  And  are  to 
be  sould  by  the  Professour  at  his  Lodging  in  Abehurch  lane 
adjoyning  to  Lumbard-street.  Emmanuel  College.  Cambridge. 

Dedicated  to  Elizabeth  Talbot  Grey,  Countess  of  Kent. 
Torriano  edited  the  third  edition  of  Florio's,  A  Worlde  of 
Wordes  (1659). 

280 

1640.  The  Italian  Tutor,  Or  A  New  and  most  compleat  Ital- 
ian Grammer.  Containing  above  others  a  most  compendious  way 
to  learne  the  verbs,  and  Rules  of  Syntax.  To  which  is  annexed 
a  display  of  the  monasillable  particles  of  the  Language,  by  way 
of  Alphabet.  As  also,  certaine  Dialogues  made  up  of  Italianismes 
or  neicities  of  the  Language,  with  the  English  to  them  .  .  .  By 
Gio.  Torriano,  an  Italian  and  professor  of  the  same  within  the 
City  of  London. 

London.  Printed  by  Tho:  Paine,  and  are  to  be  sold  by  H. 
Robinson,  at  the  signe  of  the  Three  Pidgeons  in  Paules  Church- 
yard. 1640.  4to.  British  Museum. 

The  first  part  is  dedicated  to  Elizabeth  Talbot  Grey,  Coun- 
tess of  Kent  and  (in  a  second  inscription)  to  the  Turkey  Mer- 
chants; the  second  part,  to  Sir  Philip  "Warwick. 

The  Italian  Tutor  was  long  a  popular  Italian  grammar.  It 
was  reprinted,  with  many  additions  and  alterations,  as  The 
Italian  revived,  or  Introduction  to  the  Italian  Tongue,  (London. 
1673.  8vo.  Also,  1689.  8vo.) 

281 

1660.  Lexicon  Tetraglotton,  an  English-French-ItaHan-Span" 
ish  Dictionary:  Whereunto  is  adjoined  A  large  Nomenclatwre 


GKAMMARS  AND  DICTIONAEIES  357 


of  the  proper  Terms  (in  all  the  four)  belonging  to  the  sev- 
eral Arts  and  Sciences,  to  Recreations,  to  Professions  both 
Liberal  and  Mechanick,  &c.  Diuided  into  Fiftie  two  Sections; 
With  another  Volume  of  the  Choicest  Proverbs  In  all  the  said 
Toungs,  (consisting  of  divers  compleat  Tomes)  and  the  English 
translated  into  the  other  Three,  to  take  off  the  reproch  which  u^eth 
to  be  cast  upon  Her,  That  She  is  but  barren  in  this  point,  and 
those  Proverbs  She  hath  are  but  flat  and  empty.  Moreover,  there 
are  sundry  familiar  Letters  and  Verses  running  all  in  Proverbs, 
vrith  a  particular  Tome  of  the  British  or  old  Cambrian  Sayed 
Sawes  and  Adages  which  the  Author  thought  fit  to  annex  here- 
unto, and  make  Intelligible,  for  their  great  Antiquity  and  Weight: 
Lastly,  there  are  flue  Centuries  of  New  Sayings,  which,  in  tract  of 
Time,  may  serve  for  Proverbs  to  Posterity.  By  the  Labours  and 
Lucubrations  of  James  Howell,  Esq. ; 

Senesco,  non,  segnesco. 

London.  Printed  by  J.  G.  for  Samuel  Thomson  at  the 
Bishops  head  in  St.  Pauls  Church-yard.  1660.  Folio.  British 
Museum,  Peabody  Institute.  Baltimore. 

Dedicated,  "To  his  Majesty  Charles  the  Second,  Third 
Monarch  of  Great  Britain,"  etc. 

The  Proverbs  were  published  separately  in  1659,  as  Pro- 
verbs or  old  Sayed  Saws  and  Adages  in  English  or  the  Saxon 
tongue,  Italian,  French,  and  Spanish:  Whereunto  the  British 
[i.e.  Welsh]  for  their  great  Antiquity  and  weight  are  added.'* 

Among  other  attractions  of  this  extraordinary  compilation 
are  three  introductory 

Poems  by  the  Author 
Touching  the  Association  of  the  English  Toung  with  the  French, 
Italian,  and  Spanish,  etc. 

I 

France,  Italy  and  Spain,  ye  sisters  three, 
Whose  Toungs  are  branches  of  the  Latian  tree. 
To  perfect  your  odd  Number,  be  not  shy 
To  take  a  Fourth  to  your  society. 


ELIZABETHAN  TRANSLATIONS 


That  high  Teutonick  Dialect  which  bold 

Hengistus  with  his  Saxons  brought  of  old 

Among  the  Brittains,  when  by  Knife  and  Sword 

He  first  of  England  did  create  the  word; 

Nor  is't  a  small  advantage  to  admitt, 

So  Male  a  speech  to  mix  with  you,  and  knitt. 

Who  by  her  Consonants  and  tougher  strains 

Will  bring  more  Arteries  'mong  your  soft  veins, 

For  of  all  toungs  Dutch  hath  most  nerves  and  bones, 

Except  the  Pole,  who  hm-les  his  words  like  stones. 

Some  feign  that  when  our  Protoplastick  sire 

Lost  Paradis  by  Heavens  provoked  ire. 

He  in  Italian  tempted  was,  in  French 

Fell  a  begging  pardon,  but  from  thence 

He  was  thrust  out  in  the  high  Teuton  Toung, 

Whence  English  (though  much  polished  since)  is  sprung. 

This  Book  is  then  an  inlaid  peece  of  art, 

English  the  knots  which  strengthen  every  part. 

Four  languages  are  here  together  fix'd. 

Our  Lemsters  Ore  with  Naples  silk  is  mix'd. 

The  Loire,  the  Po,  the  Thames,  and  Tagus  glide 

All  in  one  bed,  and  kisse  each  others  side. 

The  Alps  and  Pyrenean  mountains  meet, 

The  rose  and  flower-de-luce  hang  in  one  street: 

May  Spain  and  Red-capt  France  a  league  here  strike. 

If  'twixt  their  Kings  and  Crowns  there  were  the  like, 

Poore  Europe  should  not  bleed  so  fast,  and  call 

Turbands  at  last  unto  her  Funerall. 


VIII 

COLLECTIONS  OF  PROVERBS 


VIII 


COLLECTIONS  OF  PROVERBS 
282 

[1584?]  The  hooke  of  prittie  conceites,  taken  out  of  Latin, 
Italian,  French,  Dutch  and  Englishe.  Good  for  them  that  hue 
alwaies  newe  conceites. 

Printed  for  E.  White,  London.  [1584?!  8vo.  Black  letter. 
British  Museum. 

283 

1584.  The  Welspring  of  wittie  Conceites:  containing  a  Methode, 
aswel  to  speake,  as  to  endight  (aptly  and  eloquently)  of  sundrie 
Matters:  as  (also)  see  great  varietie  of  pithy  Sentences,  vertuou^ 
sayings  and  right  Moral  Instructions:  No  lesse  pleasant  to  be 
read,  then  profitable  to  be  practised,  either  in  familiar  speech  or 
by  writing,  in  Epistles  and  Letters.  Out  of  Italian  by  W.  Phist, 
Student.  Wisdom  is  like  a  thing  fallen  into  the  water,  which  no 
man  canfinde,  except  it  be  searched  to  the  bottome. 

At  London.  Printed  by  Richard  Jones,  dwelling  at  the  Signe 
of  the  Rose  and  the  Crowne,  neere  Holburne  Bridge.  1584. 
4to.  Black  letter.  51  leaves.  Bodleian. 

Besides  the  translation,  Phist.  (Phiston)  added  other  mat- 
ter, "partly  the  invention  of  late  writers  and  partly  mine 
own." 

The  Welspring  is  a  series  of  letters  containing  the  merest 
commonplaces  of  morals.  Collier  says  there  is  not  a  single  orig- 
inal remark,  nor  one  allusion  of  a  local  or  personal  character. 

284 

1590.  The  Quintessence  of  Wit,  being  A  corrant  comfort  of  con- 
ceites, Maximies  [sic]  and  politicke  deuises,  selected  and  gath- 


S62  ELIZABETHAN  TRANSLATIONS 


ered  together  by  Francisco  Sansouino.  Wherin  is  set  foorth  sun- 
drye  excellent  and  wise  sentences^  worthie  to  be  regarded  and 
followed.  Translated  out  of  the  Italian  tung,  and  put  into  Eng- 
lish for  the  benefit  of  all  those  that  please  to  read  and  understand 
the  works  and  worth  of  a  worthy  writer. 

At  London.  Printed  by  Edward  Allde,  dwelling  without 
Cripplegate  at  the  signe  of  the  gilded  Cuppe.  Octobris  28. 
1590.  4to.  Black  letter.  108  leaves.  British  Museum.  Also, 
1596  and  1599. 

The  arms  of  the  translator,  Captain  Robert  Hitchcock,  of 
Caversfield,  County  Bucks,  are  engraved  on  sig.  E  2,  verso.  A 
note  at  the  end  of  the  volume  reads,  —  "  This  saide  Captaine 
Hichcock  seruing  in  the  Lowe  Cuntries,  Anno.  1586  with 
two  hundreth  Souldiours :  brought  from  thence  with  this  Booke, 
the  second  booke  of  Sansouinos  politick  Conceites,  which  shall 
be  put  to  the  Printing  so  soon  as  it  is  translated  out  of  the 
Italian  into  English."  No  second  volume,  however,  is  known 
to  have  appeared. 

The  work  consists  of  803  aphorisms,  which  form  the  first 
book  of  Sansovino's  Propositioni  overo  Consider ationi  in  materia 
di  cose  di  Stato,  sotto  titolo  di  Avvertimenti,  Avvedimenti  Civili, 
&  Concetti  Politici  di  M.  F.  Guicciardini,  G.  F.  Lottini,  F. 
Sansovino.  [Edited  by  F.  Sansovino.]  {Vinegia.  1583.  4to. 
British  Museum.) 

In  a  dedicatory  Epistle  "to  the  Right  Worshipfull  Maister 
Robert  Cicell,  Esquire,  one  of  the  sonnes  of  the  Right  Honor- 
able the  Lord  High  Treasurer  of  England,"  Captain  Hitchcock 
observes,  "this  book  though  it  be  printed  in  common  paper, 
yet  was  it  not  penned  in  ordanarye  discourses;  it  spreadeth 
it  self  like  a  tree  that  hath  many  braunches,  whereon  some 
bowe  is  greater  then  another,  and  yet  the  fruite  of  them  all  are 
alike  in  taste,  because  no  soure  crabbes  were  graffed  where 
sweet  apples  should  growe,  nor  no  bitter  oranges  can  be  gath- 
ered where  sweet  powngarnets  are  planted;  the  excellency  of 
this  fruit  must  be  sencibly  felt  and  tasted  with  a  well  sea- 
soned minde  and  iudgement,  and  the  delicatenes  therof  must 


COLLECTIONS  OF  PROVERBS  363 


be  chewed  and  chawed  with  a  chosen  and  speciall  spirite  of 
understanding,  not  greedily  mumbled  up  and  eaten  as  a  wanton 
eates  peares  that  neuer  were  pared.  Philosophic  and  farre 
fetched  knowledge  may  not  be  handled  and  entertained  like  a 
Canterbury  tale,  nor  used  like  a  riding  rime  of  Sir  Topas." 

I  quote  one  maxim  as  a  sample  of  the  rest,  —  "That  com- 
monwealth v/here  iustice  is  found  for  the  poore,  chastisement 
for  those  that  be  insolent  &  tirants,  weight  and  measure  in 
those  things  which  are  solde  for  the  use  of  man,  exercise  and 
discipline  amongst  yong  men,  small  covetousnes  amongst  olde 
persons,  can  neuer  perishe." 

285 

1590.  The  Royal  Exchange.  Contayning  sundry  Aphorismes 
of  Phylosophie,  and  golden  principles  of  Morrall  and  natural 
Quadruplicities.  Under  pleasant  and  efectuall  sentences^  dys- 
couering  such  strange  definitions,  deuisions,  and  distinctions  of 
vertue  and  vice,  as  may  please  the  grauest  CittizenSy  or  youngest 
Courtiers.  Fyrst  written  in  Italian  and  dedicated  to  the  Signorie 
of  Venice,  nmoe  translated  into  English,  and  offered  to  the  Cittie 
of  London.  Rob.  Greene,  in  Artibus  Magister. 

At  London.  Printed  by  I.  Charlewood  for  William  Wright. 
Anno  Dom.  1590.  4to.  Chetham  Library,  Manchester,  prob- 
ably a  unique  exemplar.  The  Life  and  Complete  Works  in 
Prose  and  Verse  of  Robert  Greene,  M.A.  In  12  volumes.  Vol. 
VII.  The  Huth  Library.  A.  B.  Grosart.  1881-83.  8vo.  50 
copies  only.  Peabody  Institute,  Baltimore.  Yale  University. 

Dedicated  to  the  "right  honourable  Sir  John  Hart,  Knight, 
Lorde  Mayor  of  the  Cittie  of  London:  and  to  the  right  wor- 
shipfull  Ma.  Richard  Gurney,  and  Ma.  Stephen  Soame,  Sher- 
iff es  of  the  same  Cittie." 

In  his  dedicatory  epistle  to  Sir  John  Hart,  Greene  says,  — 
"Hauing  (right  Honorable  and  Worshipful)  read  ouer  an 
Italian  Pamphlet,  dedicated  to  the  Signorie  of  Venice,  called 
La  Burza  Reale,  full  of  many  strange  &  effectual  1  Aphorismes, 
ending  in  short  contriued  Quadruplicities,  translating  it  into 


364  ELIZABETHAN  TRANSLATIONS 


our  vulgare  English  tongue,  &  keeping  the  tytJe,  which  signi- 
fieth  the  Royall  Exchange,  I  presumed,  as  the  Itahan  made 
offer  of  his  worke  to  the  Venetian  state,  so  to  present  the  imi- 
tation of  his  labours  to  the  pyllers  of  thys  honourable  Cittie  of 
London,  which  to  counteruaile  theyr  Burza  Reale,  haue  a 
Royall  Exchange:  flourishing  with  as  honorable  Merchants, 
as  theirs  with  valorosissimi  MercadorV* 

The  dedication,  "To  the  right  honourable  Cittizens  of  the 
Cittie  of  London,"  sets  forth  some  of  the  wares  to  be  had  at 
this  Royall  Exchange,  — 

"heere  you  may  buy  obedience  to  God,  performed  in  the 
carefull  mayntenaunce  of  his  true  religion,  here  you  shal  see 
curiously  sette  our  reuerence  to  Magistrates,  fayth  to  freendes, 
loue  to  our  neyghbours,  and  charitie  to  the  poore :  who  couets 
to  know  the  duety  of  a  Christian,  the  offyce  of  a  Ruler,  the 
calling  of  a  Cittizen:  to  be  breefe,  the  effects  TuUie  pende  down 
in  his  Officies,  eyther  for  the  embracing  of  vertue,  or  shunning 
of  vice,  let  hym  repayre  to  this  Royall  Exchange,  and  there  he 
shall  find  himselfe  generally  furnished." 

The  *Quadruplicities'  are  arranged  in  alphabetical  order, 
according  to  the  Italian,  and  are  sometimes  doubled,  making 
an  octave  of  aphorisms:  after  the  set,  or  sets,  comes  a  short 
comment,  usually  taken  from  some  classical  source.  I  cite  a 
few  *  Quadruplicities,'  to  illustrate,  — 


Foure  things  doe 
belong  unto  a 
Teacher. 


Dottore,  A  Teacher. 

'  1.  In  the  day  to  looke  over  the  Lecture 
he  hath. 

2.  In  the  night  by  meditation  to  call  it 
to  memorie. 

3.  Priuatly  to  resolue  his  schollers  in  al 
doubts. 

I  4.  To  be  affable  with  them. 
(This  is  the  first  of  two  Quadruplicities  on  this  theme.) 


COLLECTIONS  OF  PROVERBS  365 


Pouerta,  Pouertie. 

1.  Grammer. 


Foure  Artes  doo 
impouerish  a  man. 


2.  Lodgicke. 

3.  Arithmeticke. 

4.  And  Geometric. 

By  this,  the  Author  meaneth  as  I  gesse,  that  all  liberall 
Artes  decay,  that  deuotion  towardes  learning  is  colde,  and  that 
it  is  the  poorest  condition  to  be  a  Scholler,  all  Artes  fayling 
but  Diuinitie,  Law,  and  Phisicke,  the  one  profiting  the  souJe, 
the  second  the  purse,  the  third  the  bodie. 

The  last  *Quadruplicity'  but  one  is  this,  — 

Vita,  Lyfe. 

1.  To  line  soberlie. 


Four  things  doo 
prolong  a  man's  life. 


2.  To  dwell  with  freends. 

3.  A  holesome  scituation. 

4.  A  quiet  and  a  merry  mind. 
Nestor,  who  as  Homer  and  other  Historiographers  doo  re- 
tort, lined  three  ages,  beeing  demaunded  by  Agamemnon  what 
was  the  causes  of  his  so  long  life,  aunswered,  the  first  or  pri- 
marie  cause,  was  the  decrees  of  the  Gods,  the  second,  frugalitie 
in  dyet,  want  of  care  and  of  melancholic.  If  you  will  die  olde, 
(sayth  Hermogenes)  lyue  not  in  Law-places,  eschew  delicates, 
and  spend  thy  idle  time  in  honest  and  merry  companie. 

286 

1613.  Aphorismes  Civill  and  Militarie,  amplified  with  Au- 
thoritiesy  and  exemplified  with  History y  out  of  the  first  Quarterne 
of  F.  Guicdardine  [by  Sir  Robert  Dallington,  master  of  Char- 
ter-house]. {A  brief e  Inference  upon  Guicdardine' s  digression^ 
in  the  fourth  part  of  the  first  Quarterne  of  his  Historie;  forbidden 
the  impression  and  effaced  out  of  the  originall  by  the  Inquisi- 
tion.) 

Imprinted  for  E.  Blount,  London.  1613.  Folio.  2  parts. 
British  Museum.  London.  Printed  by  Robert  AUott.  1629. 
Folio.  British  Museum.  Bodleian, 


366  ELIZABETHAN  TRANSLATIONS 


The  first  edition  of  this  book  here  noted  is  the  presentation 
copy  to  Prince  Charles,  afterwards  King  Charles  I,  and  there 
is  a  portrait  of  the  Prince  in  his  thirteenth  year  on  the  verso 
of  the  title-page.  The  second  edition  contains  a  translation  of 
the  inhibited  digression  (sixty-one  pages  in  all) ;  it  is  a  satirical 
discussion  of  the  authority  of  the  popes. 

Guicciardini's  history  was  published  in  1561,  folio  and 
octavo :  — 

Uhistoria  d'  Italia  di  F.  G.  pp.  1299.  [Edited  by  Agnolo 
Guicciardini.] 

L.  Torret[\xi6\\  Firenze.  1561.  8vo.  British  Museum  (2 
copies).  Also,  Fiorenza.  1561.  Folio.  British  Museum. 

287 

1633.  Bihliotheca  scholastica  instructissima.  Or,  Treasurie 
of  Ancient  Adagies  and  Sententious  Proverhes,  selected  out  of  the 
English,  Greeke,  Latene,  French,  Italian,  and  Spanish,  etc. 
Excudebat  M.  F. 

Impensis  Richardi  Whitaker.  Londini.  1633.  8vo.  British 
Museum.  Also,  Londini.  1654.  8vo.  British  Museum. 

By  Thomas  Draxe.  A  posthumous  publication  whose  preface 
is  dated,  "Harwich,  Julii  30,  1615." 

288 

1642.  Select  Italian  Proverbs;  The  most  significant,  very  use- 
full  for  Travellers,  and  such  as  desire  that  Language.  The  same 
newly  made  to  speak  English,  and  the  obscurest  places  with  notes 
illustrated,  usefull  for  such  as  happily  aim  not  at  the  Language, 
yet  would  see  the  genius  of  the  Nation.  By  Gio.  Torriano  an 
Italian,  Professour  of  the  same  Tongue:  and  M^.  of  Arts.  [Quo- 
tation from  Seneca.] 

Cambridge.  Printed  by  Roger  Daniel,  Printer  to  the  Uni- 
versitie.  1642.  12mo. 

Dedicated  to  Mildmay  Fane,  2nd  Earl  of  Westmoreland, 
author  of  Otia  Sacra  (1648). 


COLLECTIONS  OF  PROVERBS  367 


289 

1659.  Proverbs  Englishy  French,  Dutch,  Italian,  and  Span- 
ish. All  Englished  and  Alphabetically  digested.  By  N.  R.  Gent. 

London.  Printed  for  Simon  Miller  at  the  Star  in  Pauls 
Church-yard.  1659.  Sm.  8vo. 

290 

1660.  Choice  Proverbs  and  Dialogues  in  Italian  and  English. 
Also,  delightfull  stories  and  apothegms,  taken  out  of  famous 
Guicciardine.  Together  with  the  Warres  of  Hannibal  against  the 
Romans;  an  history  very  usefull  for  all  those  that  would  attain 
to  the  Italian  tongue.  Published  by  P.  P.,  an  Italian,  and 
Teacher  of  the  Italian  Tongue. 

Printed  by  E.  C.  London.  1660.  8vo.  Pp.  304.  British  Mu- 
seum. 

Besides  Guicciardini's  Awertimenti  Politici,  edited  by  San- 
sovino,  Lodovico  Guicciardini  edited  from  his  uncle's  writ- 
ings,— 

I  precetti  et  sententie  piu  notabili  in  materia  di  siato  di  M.  F, 
G.[uicciardini]. 
Anversa.  1585.  4to.  British  Museum, 
See  The  Quintessence  of  Wit  (1590). 

291 

1666.  Piazza  Universale  di  Proverbi  Italiani:  Or,  A  Com- 
mon Place  of  Italian  Proverbs  and  Proverbial  Phrases.  Di- 
gested in  Alphabetical  Order  by  way  of  Dictionary:  Interpre- 
tated,  and  occasionally  Illustrated  with  Notes.  Together  with  a 
Supplement  of  Italian  Dialogues.  Composed  by  Gio:  Torriano, 
an  Italian,  and  Professor  of  the  Tongue. 

London.  Printed  by  F.  and  T.  W.  for  the  Author.  Anno 
Dam.  1666.  FoHo. 


IX 

VOYAGES  AND  DISCOVERY 


IX 

VOYAGES  AND  DISCOVERY 
292 

1555.  The  [three]  Decades  of  the  newe  worlde  or  west  India, 
conteynyng  the  navigations  and  conquestes  of  the  Spanyardes, 
with  the  particular  description  of  the  moste  riche  and  large  landes 
and  Ilandes  lately  founde  in  the  west  Ocean  perteynyng  to  the 
inheritaunce  of  the  Kinges  of  Spayne,  .  .  .  Written  in  the  Latine 
tounge  by  Peter  Martyr  of  Angleria,  and  translated  into  Eng- 
lysshe  by  i?.[ichard]  Eden.  {The  hystorie  of  the  Weste  Indies, 
wrytten  by  Gonzalus  Ferdinandus.  —  A  discourse  of  the  mar- 
velous vyage  made  by  the  Spanyardes  rounde  aboute  the  worlde, 
gathered  owt  of  a  large  booke  wrytten  hereof  by  master  yl.[ntonio] 
Pygafetta.  —  The  debate  and  stryfe  betwene  the  Spanyardes  and 
Portugales,  for  the  division  of  the  Indies  and  the  trade  of  Spices 
and  also  for  the  Hands  of  Molucca  .  .  .  by  J.  Lopez  de  Gomara. 
[Francisco  Lopez  de  Gomara].  —  Of  Moscovie  and  Cathay.  — 
The  historic  written  in  the  latin  toonge  by  P.  Jovius  .  .  .  of  the  lega- 
tion or  ambassade  of  greate  Basilius  Prince  of  Moscovia  to  pope 
Clement  the  vij.  Other  notable  thynges  as  touchynge  the  Indies. 
Of  the  generation  of  metalles  and  their  mynes  with  the  maner  of 
fyndinge  the  same:  written  in  the  Italian  tounge  by  Vannuccius 
Biringuczius  [Vannuccio  Biringuccio].  Description  of  two  viages 
made  owt  of  England  into  Guinea  .  .  .  in  .  .  .  M.D.L.III.) 

R.  Jug.  In  aedibus  Guilhelmi  Powell,  London,  1555.  4to. 
Black  letter.  British  Museum  (3  copies). 

This  is  a  translation  of  the  first  edition  of  the  Decades,  —  De 
rebus  oceanis  et  Orbe  Novo  Decades  tres,  etc.  (Alcala  de  Henares. 
1516.  Folio.) 

It  was  edited  by  Antonio  de  Nebrija,  a  friend  of  Pietro 
Martire,  of  Anghiera.  The  Three  Decades  cover  some  twenty 
years,  beginning  with  the  first  voyage  of  Columbus. 


372  ELIZABETHAN  TRANSLATIONS 


F.  A.  MacNutt  does  not  record  this  first  English  translation 
in  his  translation  of  De  Orbe  N(yvo.  (New  York  and  London. 
1912.  Royal  8vo.) 

Francisco  Lopez  de  Gomara,  1519-60,  was  chaplain  to 
Hernan  Cortes,  El  Conquistador.  He  wrote  Conquista  de  Mejico. 

Gonzalez  Fernandez  de  Oviedo  y  Valdes,  1478-1557,  was 
once  secretary  to  the  Great  Captain.  His  Historia  general  y 
natural  de  Indias  was  published  at  Salamanca  in  1535 
(folio). 

Peter  Martyr,  Pietro  Martire,  of  Anghiera,  by  Lago  Mag- 
giore,  was  a  member  of  the  Council  of  the  Indies,  and  secre- 
tary to  Ferdinand  and  Isabella,  and  to  the  Emperor  Charles 
V,  and  also  the  friend  and  correspondent  of  Columbus.  It  is 
said  that  Pope  Leo  X  sat  up  all  night  to  read  the  Decades,  so 
keen  was  the  curiosity  and  the  sense  of  wonder  roused  by  the 
tales  of  the  returning  voyagers  from  the  new  world. 

The  Chevalier,  Francesco  Antonio  Pigafetta,  of  Vicenza, 
"for  to  see  the  marvels  of  the  ocean,"  accompanied  Magellan, 
Fernao  de  Magalhaes,  in  his  circumnavigation  of  the  globe, 
from  September,  1519,  to  September,  1522.  He  was  one  of  the 
eighteen  survivors  out  of  some  280  men  of  that  splendid  feat 
of  navigation.  Pigafetta's  journal,  II  viaggio  fatti  dagli  Spag- 
niuoli  intorno  al  Mondo,  kept  by  him  during  the  three  years 

*  Of  moving  accidents  by  flood  and  field,* 

is  the  chief  soiu-ce  of  information  as  to  the  first  voyage  around 
the  earth. 

See  Purchas  his  Pilgrimes  (1625),  i,  ii,  34-47.  Foho.  ii,  84- 
118  (ed.  MacLehose  and  Sons,  1905-07.  8vo.) 

293 

1577.  The  History  of  Trauayle  in  the  West  and  East  Indies, 
and  other  countreys  lying  eyther  way,  towardes  the  fruitfull  and 
ryche  Molluccaes.  As  Moscouia,  Persia,  Arabia,  Syria,  Aegypte, 
Ethiopia,  Guinea,  China  in  Cathayo,  and  Giapan:  With  a  dis- 
course of  the  Northwest  passage.  .  .  .  Gathered  in  parte,  and  done 


VOYAGES  AND  DISCOVERY  373 


into  Englyshe  by  Richarde  Eden.  Newly  set  in  order,  aug- 
mentedy  and  finished  by  Richarde  WUles. 

Imprinted  at  London  by  Richarde  Jugge.  1577.  Cum 
Priuilegio.  4to.  Black  letter.  British  Museum  (4  copies). 

Second  edition  of  Richard  Eden's  translation  of 

Peter  Martyr's  De  Orbe  Novo  (1555). 

Dedicated,  by  Richarde  Willes,  to  "  The  Lady  Brigit,  Coun- 
tesse  of  Bedforde,  my  singuler  good  Lady  and  Mystresse." 
Reprinted  by  Edward  Arber  in 

The  First  Three  English  Books  on  America  (Birmingham. 
1885). 

Magellan's  Voyage  Around  the  World.  By  Antonio  Pigafetta. 
The  original  text  of  the  Ambrosian  MS.y  with  English  transla- 
tion, notes,  bibliography,  and  index.  By  James  Alexander 
Robertson.  With  portrait,  and  facsimiles  of  the  original  maps  and 
plates. 

The  Arthur  H.  Clark  Company.  Cleveland.  1906.  3voIs.8vo. 

It  is  more  than  likely  that  Shakspere  had  read  Pigafetta's 
journal  in  Eden's  History  of  Trauayle,  for  he  takes  from  it  the 
name  of  Caliban's  god,  Setebos  [Tempest,  i,  2,  and  v,  1].  While 
the  ships  were  wintering  at  Port  St.  Julian,  Patagonia,  1520, 
Magellan  captured  two  of  the  Patagonians  "by  deceyte  by 
loading  them  with  presents  and  then  causing  shackels  of  iren 
to  be  put  on  theyr  legges,  makynge  signes  that  he  wold  also 
giue  them  those  chaynes;  but  they  begunne  to  doubte,  and 
when  at  last  they  sawe  how  they  were  deceaued  they  rored 
lyke  buUes  and  cryed  uppon  theyr  greate  deuyll  Setebos  to 
helpe  them." 

294 

1577.  Of  the  viages  of  .  .  .  (S.[ebastian]  C.[abot].  See  An- 
glerius,  P.  M. 

Also,  R.  Eden,  The  History  of  Trauayle  in  the  West  and  East 
Indies,  etc.  (1577.  4to.  British  Museum);  Richard  Hakluyt, 
Principall  Navigations,  Voyages,  etc.  (1589-1600),  vii,  147- 
203,  of  (ed.  MacLehose  and  Sons,  1903-05). 


874  ELIZABETHAN  TRANSLATIONS 


295 

1577.  Certaine  reportes  of  the  province  of  Chinas  learned 
through  the  Portugals  there  imprisoned,  and  cheefly  by  the  rela- 
tion of  Galeotto  Perera,  a  Gentleman  of  good  credit,  that  lay  pris- 
oner in  that  Countrey  many  yeeres.  Done  out  of  Italian  into 
English  hy  Richard  Willes. 

See  R.  Eden,  The  History  of  Trauayle  in  the  West  and  East 
Indies,  etc.  (1577.  4to);  Richard  Hakluyt,  The  Principal 
Navigations,  etc.,  vi,  295-327  (ed.  MacLehose  and  Sons, 
1903-05,  8vo);  Purchas  his  Pilgrimes,  xi,  566-94  (ed.  Mac- 
Lehose and  Sons,  1905-07,  8vo). 

296 

1577.  The  Travels  of  Lewes  Vertomannus.  1503. 

The  EngUsh  translation  of  Varthema,  made  by  Richard 
Eden,  was  posthumously  published  by  R.  Willes,  in  1577,  in 

The  History  of  Trauayle  in  the  East  and  West  Indies,  &c. 
(1577.  4to). 

It  was  reprinted  in  Hakluyt's  Voyages  (iv,  547.  Ed.  1811), 
and  again,  "contracted,"  in  Purchas  his  Pilgrimes  (1625), 
XI,  55-90  (ed.  MacLehose  and  Sons.  1905-07.  8vo). 

The  earliest  original  reported  in  Brunet  is  the  Latin,  — 

Lud.  Vartomani  Novum  itinerarium  Aethiopiae,  Aegypti, 
utriusque  Arabiae,  Persiae,  Syriae,  et  Indiae  intra  et  extra 
Gangem.  (Milan.  1508.  Folio.) 

The  most  ancient  Italian  version,  but  not  the  original,  which 
is  lost,  is 

Itinerario  de  Ludovico  Varthema  Bolognese  nello  Egypto,  nella 
Surria,  nella  Arabia  deserte  et  felice,  nella  Persia,  nella  India  et 
nella  Ethiopia. 

Stampato  in  Roma  per  Maestro  Stephano  guillereti  de  Loreno 
et  Maestro  Hercule  de  Nani  Bolognese  ad  instantia  de  maestro 
Lodovico  de  Henricis  da  Cornaro  Vicentino,  nel  anno  M.D.X,  a 
di  vi  de  Decembri.  4 to. 

Varthema's  *  Itinerary'  was  translated  into  German  (Augs- 


VOYAGES  AND  DISCOVERY  375 


burg,  1515.  4to),  and  into  Spanish,  by  Christoval  de  Arcos 
(Seville,  1520.  Folio).  A  French  translation,  made  from  the 
Latin  version  aided  by  the  Spanish,  appeared  first  as  a  chapter 
in  Ramusio's  Navigationi  et  viaggi  (Venice,  1550-1556-1559, 
3  vols.  Folio).  The  translator,  Jean  Temporal,  brought  it  out 
separately  later,  Voyages  de  Loys  de  Bartheme  Bolognais  {Lyon. 
1556.  Folio). 

297 

1612.  De  NoiLO  Orhe,  or  The  Historie  of  the  west  Indies^  Con- 
tayning  the  ades  and  aduentures  of  the  Spanyardes,  which  haue 
conquered  and  peopled  those  Countries,  inriched  with  varietie  of 
pleasant  relation  of  the  Manners,  Ceremonies,  Lawes,  Gouem- 
ments,  and  War  res  of  the  Indians.  Comprised  in  eight  Decades. 
Written  by  Peter  Martyr  Millanmse  of  Angleria,  Cheife  Secre- 
tary to  the  Emperour  Charles  the  fift,  one  of  his  Priuie  Councell. 
Whereof  three,  haue  beene  formerly  translated  into  English,  by 
R.  Eden,  whereunto  the  other  fiue,  are  newly  added  by  the  Indus- 
trie, and  painefull  Trauaile  of  M.  Lok  Gent. 

In  the  handes  of  the  Lord  are  all  the  corners  of  the  earth. 
Psal.  95. 

London.  Printed  for  Thomas  Adams.  1612.  4to. 
Third  edition  of  Peter  Martyr's  De  Orbe  Novo.  (1555.) 
A  later  edition,  without  date,  London.  [1620.^]  4to.  British 
Museum. 

Dedicated  to  Sir  Julius  Caesar,  Chancellor  of  the  Exchequer. 
This  is  the  first  complete  edition  of  the  eight  decades  in  English. 

An  Elizabethan  edition  of  De  Orbe  Novo  .  .  .  decades  octo  .  .  . 
labore  et  industria  Richardi  Hakluyti  Oxoniensis  (Paris,  1587), 
is  dedicated  to  the  ^*illustri  et  magnannimo  viro  Gualtero  Ra- 
legho:' 

De  Orbe  Novo.  The  Eight  Decades  of  Peter  Martyr  D  *Anghera. 
Translated  from  the  Latin  with  Notes  and  Introduction.  By 
Francis  Augustus  MacNutt.  G.  P.  Putnam's  Sons.  New  York 
and  London.  1912.  2  vols.  Royal  8vo. 

Dedicated  to  Andrew  Finley  Scott. 


376  ELIZABETHAN  TRANSLATIONS 


298 

1580.  A  Shorte  and  briefe  narration  of  the  Two  Nauigations 
and  Discoueries  to  the  North-weast  partes  called  Newe  Fraunce: 
First  translated  out  of  French  into  Italian  by  that  famous  learned 
man  Gio:  Bapt:  Ramutius,  and  now  turned  into  English  by  John 
Florioy  etc. 

H.  Bynneman.  London.  1580.  4to.  Pp.  80.  Black  letter. 
British  Museum. 

Dedicated  to  "Edmund  Bray,  Esq.,  High  Sheriff  of  Oxford- 
shire," and  "To  all  Gentlemen  Merchants  and  Pilots."  At 
the  end  occurs,  —  "Here  endeth  the  second  Relation  of  James 
Carthiers  [Jacques  Cartier]  discouerie  &  navigation  to  the 
newe  founde  Lande,  by  him  named  'New  Fraunce,'  translated 
out  of  Itahan  into  Englishe  by  I.  F." 

The  original  French  work  based  on  Cartier's  notes  of  his 
second  voyage  is  — 

Brief  Recit  de  la  navigation  faite  es  isles  de  Canada,  Hoche- 
lage,  Saguenay  et  autres, 

Paris.  1545,  et  Rouen.  1598.  8vo.  1863.  8vo.  British 
Museum. 

The  Italian  translation  from  the  French  used  by  Florio  is 
in  the  third  volume  of  the  third  edition  of  Ramusio's  Navi- 
gationi  et  Viaggi  (Venice.  1565) :  — 

Primo  volume,  &  terza  editione  delle  Navigationi  et  viaggi 
raccolto  gia  da  M.  G.  B.  Ramusio  &  con  .  .  .  discorsi,  da  lui  .  .  . 
dichiarato  <&  illustrato.  Nel  quale  si  contengono  la  descrittione 
deir  Africa  &  del  paese  del  Prete  Janui,  con  varij  viaggi,  etc. 
{Secondo  volume  .  .  .  in  questa  nuova  editione  accresciuto,  etc. 
Terzo  volume,  etc.)  3  vols. 

Venetia,  nella  stamperia  de  Giunti.  1563-74-65.  Folio.  Brit- 
ish Museum. 

Jacques  Cartier,  Sieur  de  Limoilu,  was  sent  out  to  Canada 
by  King  Francis  I,  and  made  his  first  voyage  during  the  sum- 
mer of  1534.  The  second  voyage  was  made  in  1535-36,  when  the 
navigator  wintered  in  New  France.  Hochelaga  was  the  name 


VOYAGES  AND  DISCOVERY  377 


of  an  Iroquois  village  which  he  found  on  the  site  of  Montreal. 
Ramusio's  third  volume  contains  a  two-page  pictorial  plan  of 
the  town  of  Hochelaga,  and  a  general  map  of  the  New  World 
in  a  hemisphere. 

For  many  years  the  only  known  account  of  Cartier's  first 
voyage  was  that  published  in  Ramusio's  Navigationi  et  Viaggi, 
in  1556,  and  translated  into  English  by  John  Florio,  in  1580. 
The  original  narrative  was  however  found,  in  manuscript,  in 
the  Bibliotheque  Imperiale,  in  1867.  It  was  printed  in  the 
same  year,  under  the  title,  — 

Relation  Originale  du  Voyage  de  Jacques  Cartier  au  Canada 
en  1534. 

The  original  manuscripts  of  both  voyages  have  been  newly 
translated  from  the  French,  in  the  latest  book  on  Cartier,  — 

A  Memoir  of  Jacques  Cartier,  Sieur  de  Limoilu;  his  Voyages 
to  the  St.  Lawrence;  a  Bibliography  and  a  facsimile  of  the  manu- 
script of  1534,  y^ith  annotations,  etc.  By  James  Phinney  Baxter, 
A.M. 

New  York.  Dodd,  Mead  &  Co.  1905.  Illustrated. 

299 

1582.  Divers  voyages  touching  the  discoverie  of  America,  and 
the  Hands  adjacent  unto  the  same,  made  first  of  all  by  our  English- 
men, and  afterwards  by  the  Frenchmen  and  Britons:  with  two 
mappes  annexed  heereunto.  [By  R.  H.,  i.e.,  Richard  Hakluyt.] 

(T.  Dawson,)  for  T.  Woodcocke:  London.  1582.  4to.  2  pts. 
Black  letter.  British  Mmeum. 

Between  the  title  and  signature  A  there  are  five  leaves  con- 
taining "The  names  of  certaine  late  travaylers,"  etc.;  "A  very 
late  and  great  probabilitie  of  a  passage  by  the  Northwest  part 
of  America,"  and  the  "Epistle  dedicatorie'*  to  "Master  Phillip 
Sydney,  Esquire."  One  of  the  maps  is  also  dedicated  to  Sir 
Philip  Sidney  by  Michael  Lok. 


378  ELIZABETHAN  TEANSLATIONS 


300 

1582.  Discoverie  of  the  isles  of  Frisland  &c.  by  N,  Z.  [Nicolo 
Zeno]  and  Antonio  his  brother. 

See,  Richard  Hakluyt,  Divers  voyages,  etc.  (1582.  4to.  Brit- 
ish Museum.) 

The  discouerie  of  the  Isles  of  Frisland,  Iseland,  Engroneland, 
Estotilandy  Drogeo  and  Icaria:  made  by  two  brethren,  namely 
M.  Nicholas  Zeno,  and  M.  Antonio  his  brother:  Gathered  out  of 
their  letters  by  M.  Francisco  Marcolino. 

The  Voyages  of  The  English  Nation  to  America,  before  the 
year  1600,  from  Haklyyfs  Collection  of  Voyages  {1598-1600 
[ill,  121-28]).  Edited  by  Edmund  Goldsmid. 

Edinburgh.  1889.  Vol.  i,  p.  274. 

The  Voyages  of  the  Venetian  Brothers,  Nicolo  and  Antonio 
Zeno,  to  the  Northern  Seas  in  the  XlVth  Century.  [Translated, 
for  the  Hakluyt  Society,  by  Richard  Henry  Major.] 

London.  1873. 

The  Annals  of  the  Voyages  of  the  Brothers  Nicolo  and  Antonio 
Zeno  in  the  North  Atlantic  About  the  end  of  Fourteenth  Century, 
and  the  Claim  founded  thereon  to  a  Venetian  Discovery  of  America. 
A  Criticism  and  an  Indictment.  By  Fred.  W.  Lucas.  50  copies. 
Edition  de  luxe. 

London,  Henry  Stevens,  Son  &  Stiles.  1898.  4to.  Pp.  233 
and  18  facsimile  maps. 

The  Zeno  family  was  one  of  the  most  distinguished  in  Ven- 
ice, furnishing  during  the  thirteenth  and  fourteenth  centuries 
a  doge,  several  senators  and  members  of  the  Council  of  Ten, 
and  military  commanders  of  ability  and  renown. 

The  adventures  of  the  two  Zeni  in  the  North  Atlantic  are 
related  in  six  letters,  two  from  Nicolo  Zeno,  known  as  "the 
Chevalier,"  to  his  brother,  Antonio,  a  third,  presumably  ad- 
dressed to  some  other  member  of  the  family,  and  three  letters 
written  by  Antonio,  after  he  had  joined  Nicolo,  to  a  third 
brother.  Carlo,  called,  for  his  success  in  the  war  against  Genoa, 
"the  Lion  of  St.  Mark."  The  voyages  were  made  about  1390- 


VOYAGES  AND  DISCOVERY  379 


1405,  and  the  narrative  was  first  published  in  1558,  by  Nicolo 
Zeno,  the  younger,  a  member  of  the  Council  of  Ten,  and  great- 
great-great-grandson  of  Antonio. 

In  brief,  the  letters  relate  how  Nicolo,  the  Chevalier,  sailing 
from  Venice  around  to  the  North  of  Europe,  was  caught  in  a 
storm  and  wrecked  on  one  of  the  Faroe  islands.  About  to  be 
murdered  by  the  natives,  he  was  rescued  by  a  great  chieftain, 
who,  recognizing  the  rank  and  nautical  skill  of  the  stranger, 
gave  him  a  post  of  authority  in  the  national  fleet.  This  chief- 
tain has  been  identified  as  Henry  Sinclair,  Earl  of  the  Orkneys 
and  Caithness.  Nicolo  persuaded  Antonio  to  join  him,  and 
together  they  undertook  various  expeditions,  one  of  which 
carried  them  a  long  distance  to  an  island  in  the  western  ocean. 
The  name  of  this  island  suggests  Greenland,  but  the  descrip- 
tion fits  Iceland.  Nicolo's  health  was  broken  by  the  cold  of 
the  western  island,  and  he  died  soon  after  his  return  to  the 
Faroes,  probably  in  1395. 

Antonio  Zeno  and  Earl  Sinclair  made  another  voyage  west- 
ward, somewhere  about  1400,  "but,  the  wind  changing  to  the 
southwest,  the  sea  therefore  becoming  rough,  the  fleet  ran 
before  the  wind  for  four  days,  and  at  last  land  was  discov- 
ered." In  returning  to  the  Faroes  from  this  country,  Zeno 
sailed  steadily  eastward  for  twenty  days,  and  then  for  five  days 
towards  the  southeast,  seeing  no  land  for  the  whole  five  and 
twenty  days.  The  basis  of  the  Venetian  discovery  of  America 
rests  upon  the  assumption  that  this  land,  upon  which  Antonio 
Zeno  left  Earl  Sinclair  to  found  a  city,  was  Greenland.  This  is 
the  conclusion  of  Richard  Henry  Major,  who  translated  the 
Zeno  narrative  for  the  Hakluyt  Society,  and  it  is  accepted  by 
John  Fiske  in  his  Discovery  of  America. 

See  The  Principal  Navigations,  etc.  (1589);  vii,  445-66 
(ed.  MacLehose  and  Sons,  1903-05). 


380  ELIZABETHAN  TRANSLATIONS 


301 

1582.  Relation  of  J.  Verrazano  of  the  land  discovered  by  him. 

See  R.  H.  (Richard  Hakluyt),  Divers  voyages,  etc.  (1582. 
4to.  British  Museum.) 

The  relation  of  John  de  Verrazano  a  Florentine,  of  the  land  by 
him  discovered  in  the  name  of  his  Maiestie  [King  Francis  I]. 
Written  at  Diepe  the  eight  of  July,  152Ji-. 

The  Voyages  of  The  English  Nation  to  America,  Collected 
by  Richard  Hakluyt,  Preacher,  and  Edited  by  Edmund  Goldsmid. 

Edinburgh.  1889.  Vol.  ii,  pp.  389-401. 

Verrazano  sailed  from  Madeira,  January  17,  1524,  and 
having  struck  the  east  coast  of  America,,  sailed  along  it  from 
about  the  34th  to  the  54th  parallel  of  latitude.  At  latitude 
"41  deg.  and  2  tierces"  he  notes  a  haven  which  "lieth  open  to 
the  South  halfe  a  league  broad,  and  being  entred  within  it  be- 
tweene  the  East  and  the  North,  it  stretcheth  twelve  leagues : 
where  it  waxeth  broader  and  broader,  and  maketh  a  gulfe 
about  20.  leagues  in  compasse,  wherein  are  five  small  Islands 
very  fruitful  and  pleasant,  full  of  hie  and  broade  trees,  among 
the  which  Islandes  any  great  Nauie  may  ride  safe  without 
any  feare  of  tempest  or  other  danger.  Afterwards  turning 
towardes  the  South  in  the  entring  into  the  Hauen  on  both  sides 
there  are  most  pleasant  hils,  with  many  riuers  of  most  cleare 
water  falling  into  the  Sea."  This  describes  New  York  harbor 
and  the  Hudson  river,  eighty-three  years  before  Henry  Hud- 
son made  his  voyage  up  the  North  River  in  the  Half-Moon. 

302 

1588.  The  Voyage  and  Travaile:  of  M.  C.  Frederick,  [Cesare 
Federici],  merchant  of  Venice,  into  the  East  India,  the  Indies, 
and  beyond  the  Indies.  Wherein  are  contained  very  pleasant  and 
rare  matters,  with  the  customes  and  rites  of  those  Countries.  Also^ 
heerein  are  discovered  the  Merchandises  and  commodities  of 
those  Countreyes,  aswell  the  aboundaunce  of  Goulde  and  Silver, 
as  Spices,  Drugges,  Pearles  and  other  Jewelles.  Written  at  sea 


VOYAGES  AND  DISCOVERY  381 


in  the  Hercules  of  London,  .  .  .  Out  of  Italian  by  r.[homas] 
fl".[ickock]. 

R.  Jones  and  E.  White.  London.  1588.  4to.  British  Museum 
(2  copies) . 

See  R.  Hakluyt,  The  Principal  Navigations ,  etc.,  v,  365- 
449  (ed.  MacLehose  and  Sons,  1903-05),  and  Purchas  his  Pil- 
grimes  (1625),  x,  143-64  (ed.  MacLehose  and  Sons,  1905-07, 
8vo.) 

303 

1589.  The  principall  NavigationSy  Voiages  and  Discoveries 
of  the  English  nation,  made  by  Sea  or  over  Land  .  .  .  within  the 
compasse  of  these  1500.  yeeres:  Devided  into  three  .  .  .  parts, 
according  to  the  positions  of  the  Regions  wherunto  they  were 
directed.  .  .  .  Whereunto  is  added  the  last  most  renowned  English 
Navigation  [viz.  Sir  Francis  Drake's]  round  the  .  .  .  Earth. 
[Nov.  15,  1577-Nov.  3,  1580.] 

G.  Bishop  and  R.  Newberie,  Deputies  to  C.  Barker,  London, 
1589.  FoHo.  British  Museum  (2  copies).  Also,  London,  1598- 
1600.  FoHo.  3  vols.  Black  letter.  British  Museum  (5  copies). 
Glasgow.  1903-05.  Reprint  of  second  edition,  in  12  volumes. 
Illustrated. 

This  book,  in  one  volume,  small  folio,  is  the  germ  of  the 
later  edition  of  Hakluyt,  1598-1600,  with  the  title 

The  Principal  Navigations  Voyages  Traffiques  and  Discoveries 
of  the  English  Nation  Made  by  Sea  or  Overland  to  the  Remote  and 
Farthest  Distant  Quarters  of  the  Earth  at  any  time  within  the 
compasse  of  these  1600  Yeeres. 

Hakluyt's  Voyages  has  been  called  the  "great  Elizabethan 
bible  of  adventure."  Besides  furnishing  English  versions  of 
Italian  and  Spanish  discoveries,  it  recounted  for  Englishmen 
the  undying  story  of  their  own  great  navigators;  of  Sir  Hugh 
Willoughby,  found  frozen  in  his  cabin,  his  hand  resting  on  his 
journal  over  this  entry  as  to  the  fate  of  his  crew:  *'In  this 
haven  they  died";  of  Sir  Humphrey  Gilbert  vanishing  with  his 
little  bark  into  the  darkness  and  the  unknown  with  the  words 


382  ELIZABETHAN  TRANSLATIONS 


on  his  lips,  "We  are  as  near  to  heaven  by  sea  as  by  land";  of 
Sir  Walter  Ralegh,  and  Sir  Richard  Grenville,  and  Sir  John 
Hawkins,  and  Sir  Francis  Drake. 

In  Twelfth  Nighty  iii,  2,  Shakspere  makes  Maria  say  of  Mal- 
volio;  —  "He  does  smile  his  face  into  more  lines  than  are  in 
the  'new  map,'  with  the  augmentation  of  the  Indies."  "But 
the  best  map  of  the  sixteenth  century  is  one  of  uncommon 
rarity,  which  is  found  in  a  very  few  copies  of  the  first  edition 
of  Hakluyt's  Voyages.''  (Hallam,  The  Literature  of  Europe, 
Part  II,  p.  255.)  As  to  the  map  described  by  Hallam,  C.  H. 
Coote  {New  Shah.  Soc.  Trans,  1877-79,  p.  88)  shows  that  "it 
was  a  'new  map'  on  a  new  projection  laid  down  upon  the 
principles  set  forth  by  Edward  Wright";  that  on  it,  "we  find 
the  latest  geographical  discovery  recorded,  namely,  that  of 
Northern  Novaya  Zembla,  by  the  Dutchman  Barentz  in 
1596."  Coote  proves  that  the  'new  map'  was  made  by  Em- 
ery Molyneux,  "  possibly  with  the  assistance  of  Hakluyt.  It 
would  be  an  anachronism  to  associate  our  '  new  map '  with  the 
fi,rst  edition  of  Hakluyt,  1589;  to  do  so  exclusively  with  the 
second  would  be  equally  a  mistake,  as  in  the  latter  we  find  no 
mention  of  it  or  of  the  discovery  of  Barentz.  The  truth  seems 
to  be  that  it  was  a  separate  map  well  known  at  the  time,  made 
in  all  probability  for  the  convenience  of  the  purchasers  of 
either  one  or  the  other  of  the  two  editions  of  Hakluyt." 

304 

1597.  A  Reporte  of  the  Kingdome  of  Congo,  a  Region  of  Africa. 
And  of  the  Countries  that  border  rounde  about  the  same.  1. 
Wherein  is  also  shewed  that  the  two  Zones,  Torrida  &  Frigida, 
are  not  onely  habitable,  but  inhabited,  and  very  temperate,  con- 
trary to  the  opinion  of  the  olde  Philosophers.  2.  That  the  blacke 
colour  which  is  in  the  skinnes  of  the  Ethiopians  &  Negroes  &c. 
proceedeth  not  from  the  Sunne.  3.  And  that  the  Riuer  Nilus 
springeth  not  out  of  the  mountains  of  the  Moone,  as  hath  beene 
heretofore  beleeued:  Together  with  the  true  cause  of  the  rysing  and 
increase  thereof.   Jf,.  Besides  the  description  of  diuers  plantes, 


VOYAGES  AND  DISCOVERY  383 


Fishes  and  BeasteSy  that  are  founde  in  those  Countries.  Drawen 
out  of  the  writinges  and  discourses  of  Odoardo  Lopes  [Duarte 
Lopez]  a  Portingall,  by  Philippo  Pigafetta.  Translated  out  of 
Italian  by  Abraham  Hartwell. 

London.  Printed  by  John  Wolfe.  1597.  4to.  British  Mu- 
seum (4  copies). 

Reprinted  "ab-reviated"  in  Purchas  his  Pilgrimes  (1625), 
VI,  407-518  (ed.  MacLehose  and  Sons,  1905,  8vo).  British 
Museum.  Peabody  Institute.  Baltimore.  Also,  in  A  Collection 
of  Voyages  and  Travels  (1745),  Vol.  ii. 

This  work  is  a  translation  of  Filippo  Pigafetta' s  Relatione 
del  Reame  di  Congo  et  delle  circonvicine  contrade  tratta  dalli 
scritti  &  ragionamenti  di  Odoardo  Lopez  Portoghese.  Con  dis- 
segni  varie  di  Geografia,  di  piante,  d '  habiti,  d '  animali  &  altro. 
In  Roma  Appresso  Bartolomeo  Grassi.  [1591.]  4to. 

In  a  prefatory  address  to  the  reader,  Hartwell  states  that 
he  was  urged  to  make  the  translation  by  Richard  Hakluyt, 
who,  he  says,  gave  him  a  copy  of  Pigafetta,  "intreating  me 
very  earnestly,  that  I  would  take  him  with  me,  and  make 
him  English:  for  he  could  report  many  pleasant  matters  that 
he  sawe  in  his  pilgrimage,  which  are  indeed  uncouth  and  al- 
most incredible  to  this  part  of  Europe."  So,  he  goes  on,  "I 
brought  him  away  with  mee.  But  within  two  houres  conference 
I  found  him  nibling  at  two  most  honourable  Gentlemen  of 
England,  [Drake  and  Cavendish]  whome  in  plaine  tearmes  he 
called  Pirates :  so  that  1  had  much  adoo  to  hold  my  hands  from 
renting  of  him  into  many  mo  peeces,  than  his  Cosen  Lopez 
the  Doctor  was  quartered." 

305 

1600.  A  Geographical  Historic  of  Africa,  Written  in  Arabicke 
and  Italian  by  John  Leo  a  More  [by  Hasan  Ibn.  Muhammad 
Al-Wazzan  Al  Fasi,  afterwards  Giovanni  Leone  Africano].  .  .  . 
Before  which  .  .  .  is  prefixed  a  generall  description  of  Africa,  and 
...  a  particular  treatise  of  all  the  .  .  .  lands  .  .  .  undescribed  by 
J.  Leo.  And  after  the  same  is  annexed  a  relation  of  the  great 


384  ELIZABETHAN  TRANSLATIONS 


Princes,  and  the  manifold  religions  in  that  fart  of  the  world. 
Translated  and  collected  by  J.[ohn]  Pory. 

Impensis  G.  Bishop,  Londini,  1600.  Folio.  British  Museum 
(Grenville  Library). 

Reprinted  by  Purchas,  Observations  of  Africa  taken  out  of 
John  Leo  his  nine  Boohes,  translated  by  Master  Pory.  Purchas 
his  Pilgrimes  (1625),  v,  307-529;  vi,  1-54  (ed.  MacLehose  and 
Sons,  1905,  8vo).  British  Museum. 

Giovanni  Leone's  work  was  first  written  in  Arabic,  and  then 
translated  into  Italian,  Latin,  French,  English,  Dutch,  and 
German.  The  Italian  title  reads,  Descrittione  dell  Africa  &  delle 
cose  notabili  che  ivi  sono.  It  was  published  by  Ramusio,  in  his  ; 

Primo  Volume  delle  Navigationi  et  Viaggi  nel  qual  si  con- 
tiene  la  descrittione  dell*  Africa,  e  del  Paese  del  Prete  lanui,  con 
varii  viaggi,  dal  Mar  Rosso  a  Calicut,  et  infin  all*  Isole  Moluc- 
che  ,  ,  .  et  la  Navigatione  attorno  il  Mondo.  [Edited  by  G.  B. 
Ramusio.] 

Gli  Heredi  di  Lucantonio  Giunta.  Venetia,  1550.  Folio. 
British  Museum. 

306 

1601.  The  Travellers  Breviat,  or  an  historical  description  of 
the  most  famous  Kingdomes  in  the  World.  Translated  into  Eng- 
lish [by  R.  J.,  i.e.,  Robert  Johnson]. 

E.  Bollifant  for  J.  Jaggard.  London.  1601.  4to.  British 
Museum. 

This  is  a  translation  of  a  part  of  Giovanni  Botero's  Le  Rela- 
tioni  Universali.  (Rome.  1591.  4to.) 

The  Relationi  Universali  was  a  very  popular  book,  frequently 
reprinted.  It  treats  of  the  situation  and  resources  of  each  state 
of  Europe,  and  of  the  causes  of  its  greatness  and  power.  The 
author,  Giovanni  Botero  Benese,  abbate  di  S.  Michele  delta 
Chiusa,  was  secretary  to  S.  Charles  Borromeo,  Cardinal  Arch- 
bishop of  Milan. 

See  Relations  of  the  most  famous  Kingdoms  and  Common- 
weales  thorough  the  world.  (1608.) 


VOYAGES  AND  DISCOVERY  385 


307 

1603.  The  Ottoman  of  Lazaro  Soranzo.  Wherein  is  delivered 
as  well  a  full  and  perfect  Report  of  the  might  and  power  of  Maho- 
met the  third.  Great  Emperour  of  the  Turkes  now  raigning  .  .  . 
as  also  a  true  description  of  divers  Peoples^  Countries,  Citties, 
and  Voyages,  which  are  most  necessarie  to  bee  knowen,  especially 
at  this  time  of  the  present  Warre  in  Hungarie.  Translated  out  of 
Italian  into  English  by  A.  HartwelL 

JohnWindet.  London.  1603.  4to.  Bodleian.  British  Museum. 

Translated  from  the  Italian  by  Abraham  Hartwell  the 
younger,  and  dedicated  by  him  to  Archbishop  Whitgift.  A 
chance  question  of  the  Archbishop's  about  Turkish  "Bassaes 
and  Visiers"  led  to  the  translation. 

308 

1608.  Relations  of  the  most  famous  Kingdoms  and  Common' 
weales  thorough  the  world.  Discoursing  of  their  Scituations, 
Manners,  Customes,  Strengthes  and  Pollicies.  Translated  into 
English  and  enlarged  with  an  addition  of  the  estates  of  Saxony, 
Geneva,  Hungary,  and  the  East  Indies,  etc. 
i,  London.  1608.  4to.  British  Museum. 

Relations  of  the  most  famous  Kingdomes  and  Commonwealths 
thorowout  the  World:  Discoursing  of  their  Situations,  Religions, 
Languages,  Manners,  Customes,  Strengths,  Greatnesse,  and 
Policies.  Translated  out  of  the  best  Italian  Impression  of  Boterus. 
And  since  the  last  Edition  by  R.  I.  PRobert  Johnson.]  Now  once 
againe  inlarged  according  to  moderne  observations;  With  Addi- 
tion of  new  Estates  and  Countries.  Wherein  many  of  the  over- 
sights of  the  Author  and  Translator  are  amended.  And  unto 
which  a  Mappe  of  the  whole  World,  with  a  Table  of  the  Countries, 
are  now  newly  added. 

London.  Printed  by  John  Haviland,  and  are  to  be  sold  by 
John  Partridge  at  the  signe  of  the  Simne  in  Pauls  Church- 
yard. 1630.  4to.  With  the  map  engraved  by  Robert  Vaughan. 
British  Museum, 


386  ELIZABETHAN  TRANSLATIONS 


A  translation  of  Giovanni  Botero's  popular  geographical 
work,  Le  Relationi  ZJniversali.  Rome.  1591.  4to. 
See  The  Travellers  Breviat.  1601. 

309 

1625.  HaMuytus  Posthumus  or  Purchas  His  Pilgrimes  Con- 
tayning  a  History  of  the  World  in  Sea  Voyages  and  Land  Trav- 
ells  by  Englishmen  and  others.  By  Samuel  Purchas,  B,D.  [In 
Five  Bookes.] 

London.  Printed  by  William  Stansby  for  Henry  Fether- 
stone,  and  are  to  be  sold  at  his  shop  in  Pauls  Church-yard  at 
the  signe  of  the  Rose.  1625.  Folio.  British  Museum  (4  copies). 

HaMuytus  Posthumus  or  Purchas  His  Pilgrimes.  In  Twenty 
Volumes. 

Glasgow.  James  MacLehose  and  Sons,  Publishers  to  the 
University.  1905-07.  8vo. 

Some  of  Hakluyt*s  unpublished  papers  came  into  the  hands 
of  Purchas.  To  these  he  added  others  and  made  this  book, 
"after  his  irregular  and  curtailed  or  contracted  manner.*'  It 
is  the  pick  and  shovel  method  applied  to  book-making.  But 
Piu-chas's  original  documents  are  of  great  value,  and  furnish 
the  topography  of  the  whole  of  Asia,  Africa,  and  America 
known  to  the  civilized  world  of  his  time.  With  pick  and  shovel 
Purchas  laid  the  foundation  of  modern  commercial  geography. 

310 

1625.  Indian  Observations  gathered  out  of  the  Letters  of  Nico- 
las Pimenta  [Niccolo  Pimenta],  visiter  of  the  Jesuites  in  India, 
and  of  many  others  of  that  societie,  written  from  divers  Indian 
Regions;  principally  relating  the  Countries  and  accidents  of  the 
Coast  of  Coromandel  and  of  Pegu. 

See  Purchas  his  Pilgrimes,  etc.  (1625.  Folio),  ii,  11&-31; 
X,  205-22  (ed.  MacLehose  and  Sons,  1905-07). 


VOYAGES  AND  DISCOVERY  387 


311 

1625.  The  first  Booke  of  Marcus  Paulus  Venetus,  or  of  Master 
Marco  Polo,  a  Gentleman  of  Venice,  .  .  .  his  Voyages. 

See  Purchas  his  Pilgrimes  (1625.  Folio),  xi,  188-309  (ed. 
MacLehose  and  Sons,  1905-07.  8vo). 

The  Book  of  Ser  Marco  Polo,  the  Venetian,  Concerning  the 
Kingdoms  and  Marvels  of  the  East.  Newly  Translated  and 
edited,  with  Notes.  By  Colonel  Henry  Yule. 

London.  John  Murray.  1871.  2  vols.  8vo.  With  Maps  and 
other  Illustrations.  Also,  1875  and  1903. 

Authoritative  English  edition. 

Marco  Polo,  1254(?)-1324,  was  of  an  aristocratic  Venetian 
family  which  had  a  commercial  house  in  Constantinople.  In 
1271,  then  a  lad  of  seventeen,  he  accompanied  his  uncles, 
Nicolo  and  Maffeo,  on  their  second  trading  journey  to  Cathay, 
at  that  time  under  the  rule  of  the  great  Kublai  Khan,  grand- 
son of  the  all-conquering  Jenghiz.  Young  Marco  became  pro- 
ficient in  speaking  and  writing  Asiatic  languages,  and  the 
Chinese  annals  of  the  year  1277  mention  him  as  a  commis- 
sioner of  the  privy  council.  He  remained  in  Kublai's  service 
until  1292,  when,  in  company  with  his  uncles,  he  set  out  to 
return,  arriving  in  Venice  in  1295.  Two  years  later,  during  a 
war  between  Venice  and  Genoa,  he  was  taken  prisoner,  and  held 
in  durance  for  about  a  year.  One  of  his  companions  in  cap- 
tivity was  a  certain  Rusticiano,  of  Pisa,  a  compiler  of  French 
romances.  Rusticiano  was  so  charmed  with  Marco's  tales  of 
his  adventures  in  Asia,  that  he  wrote  them  down,  not  in  Ital- 
ian, but  in  French.  The  Italian  version  was  prepared  by  G.  B. 
Ramusio,  and  published  in  the  second  volume  of  his  Naviga- 
tioni  e  Viaggi  (1559).  Some  eighty-five  manuscripts  of  Marco 
Polo  are  known. 

The  Book  of  Ser  Marco  Polo,  the  Venetian,  concerning  the 
Kingdoms  and  Marvels  of  the  East  is  one  of  the  most  famous 
books  of  the  Middle  Ages.  Although  some  of  the  *  marvels' 
were  stories  of  the  fabulous  kingdom  of  Prester  John,  and  of 


388  ELIZABETHAN  TRANSLATIONS 


the  "one-eyed  Arimaspians, "  still  during  his  four  and  twenty 
years  of  travel  Marco  had  learned  more  about  the  geography 
of  the  earth  than  any  other  traveller  before  his  time.  He  was 
the  first  to  describe  the  great  empire  of  China,  and  he  knew, 
or  knew  of,  Thibet,  Burmah,  Siam,  Cochin  China,  the  Indian 
Archipelago,  Java,  Sumatra,  Andaman,  Hindustan,  Japan, 
Siberia,  Zanzibar,  and  Madagascar.  Up  to  the  close  of  the 
13th  century,  the  known  geography  of  the  world  comprised 
Europe,  with  a  fringe  of  Asia  and  Africa.  It  is  no  wonder  that 
to  Marco's  contemporaries  his  sober  statements  of  fact  read 
like  a  fairy  tale,  or  a  romance  of  chivalry. 

312 

1625.  A  Discourse  of  the  Kingdome  of  China,  taken  out  of 
Ricius  [Matteo  Ricci]  and  Trigautius,  contayning  the  Countrey, 
People,  Government,  Religion,  Rites,  Sects,  Characters,  Studies, 
Arts,  Acts;  and  a  Map  of  China  added,  drawne  out  of  one  there 
made  with  Annotations  for  the  understanding  thereof. 

Purchas  his  Pilgrimes  (1625.  Folio),  iii,  ii,  380-405;  xii, 
411-79  (ed.  MacLehose  and  Sons,  1906,  8vo). 

Nicolas  Trigault  was  a  French  Jesuit  missionary,  in  China 
from  1611  till  his  death  in  1628. 

Matteo  Ricci  (1552-1610)  was  an  Itahan  Jesuit,  who 
founded  Christian  missions  in  China.  He  adopted  the  Chinese 
dress,  and  taught  Christianity  in  conformity  with  the  general 
principles  of  morals  he  found  prevalent  among  the  Chinese. 
He  wrote  numerous  works,  in  Chinese,  on  moral  subjects,  and 
on  geography,  geometry,  and  arithmetic.  In  the  Chinese  annals 
he  is  called  Li-ma-teu.  Ricci's  pleasant  way  of  living  on 
friendly  terms  with  mandarins,  and  learned  men,  and  his  lib- 
erality of  mind  in  accepting  the  moral  truths  of  Buddhism,  were 
displeasing  to  the  Dominicans.  They  accused  him  of  heresy, 
and  eventually  the  Jesuits  were  expelled  from  China.  Brown- 
ing alludes  to  the  quarrel  between  the  two  orders  in  the  Ring 
and  the  Book,  x,  The  Pope,  II.  1589-1603:  — 


VOYAGES  AND  DISCOVERY  389 


Five  years  since,  in  the  Province  of  To-kien, 
Which  is  in  China,  as  some  people  know, 
Maigrot,  my  Vicar  Apostolic  there, 
HavLQg  a  great  qualm,  issues  a  decree. 
Alack,  the  converts  use  as  God's  name,  not 
Tien-chu  but  plain  TieUy  or  else  mere  Shang-ti, 
As  Jesuits  please  to  fancy  politic, 
While,  say  Dominicans,  it  calls  down  iBre,  — 
For  Tien  means  heaven,  and  Shang-ti,  supreme  prince. 
While  Tien-chu  means  the  lord  of  heaven:  all  cry, 
"There  is  no  business  urgent  for  dispatch 
As  that  thou  send  a  legate,  specially 
Cardinal  Tournon,  straight  to  Pekin,  there 
To  settle  and  compose  the  difference!" 

313 

1633.  Cochinchina.  Containing  many  admirable  Rarities 
and  Singularities  of  that  Countrey.  Extracted  out  of  an  Italian 
Relation  .  .  .hy  C.[ristoforo]  ^.[arri]  .  .  .  and  'published  by 
i?.[obert]  Ashley. 

London.  R.  Raworth  for  R.  Clutterbuck.  1633.  4to.  Brit- 
ish Museum  (3  copies). 

314 

1873.  Travels  to  Tana  and  Persia,  by  Josafa  Barbaro  and 
Ambrogio  Contarini.  Translated  from  the  Italian  by  William 
Thomas  y  Clerk  of  the  Council  to  Edward  VI,  and  by  S.A.  Roy,  Esq. 
And  Edited,  with  an  Introduction,  by  Lord  Stanley  of  Alderley. 

London:  Printed  for  the  Hakluyt  Society,  m.dccc.lxxiii. 
8vo.  Peabody  Institute,  Baltimore. 

Dedicated  to  King  Edward  VI,  probably  in  January,  1550^ 
51,  by  William  Thomas,  — 

"...  I  have  thought  good  to  translate  out  of  the  Italian 
tonge  this  litell  booke,  written  by  a  Venetian  of  good  fame 
and  memorie,  who  hath  travailed  many  yeres  in  Tartaric  and 
Persia,  and  hath  had  greate  experience  of  those  p'tes,  as  he 
doth  sufficiently  declare,  which  I  determined  to  dedicate  unto 
yo'  Ma*'^  as  unto  him  that  I  knowe  is  most  desirouse  of  all 


390  ELIZABETHAN  TRANSLATIONS 


vertuouse  knowledge.  Trusting  to  God  yo"  shall  longe  lyve 
and  reigne  a  most  happie  king  over  a  blessed  countrey,  most 
humbly  beseeching  yo'  highnes  to  accept  this  poore  newe 
yeres  gift,  being  the  worke  of  myne  owne  hande,  as  a  token 
of  the  faithful!  love  that  I  am  bounde  to  beare  unto  yo"  as  well 
naturally  as  through  the  speciall  goodnesse  that  I  have  founde 
in  yo". 

"Yo'  Ma*^  most  bounden  Servant, 

"Willm.  Thomas." 

The  work  is  translated  from  Giosafat  Barbaro's 

Viaggi  [two]  fatti  da  Vinetia,  alia  Tana,  in  Persia,  in  India, 
et  in  Costantinopoli:  con  la  descrittione  particolare  di  citta, 
luoghi,  siti,  costumi,  et  della  Porta  del  gran  Turco:  et  di  tutte  le 
intrate,  spese,  et  modo  di  gouerno  suo,  et  della  ultima  impresa 
contra  Portoghesi.  [Edited  by  ^.[ntonio]  J/.[anuzio].] 

Nelle  case  de  Figliuoli  di  Aldo:  Vinegia,  1543.  8vo.  Pp.  180. 
British  Museum  (2  copies). 

Barbaro  states  that  he  set  out,  in  the  year  1436,  for  Tana, 
"wheare  for  the  most  parte  1  contynewed  the  space  of  xvi 
yeres,  and  haue  compassed  all  those  cuntreys  as  well  by  sea 
as  by  lande  not  only  w*^  diligence,  but  in  maner  curiousely.'* 

Of  the  second  voyage,  he  gives  this  account,  —  "  Diu-ing 
the  warres  between  our  most  excellent  Signoria  and  Ottomano, 
the  year  1471,  I,  being  a  man,  used  to  travaile,  and  of  experi- 
ence amongst  barbarouse  people,  and  willing  also  to  serue  o' 
foresaid  most  excellent  Signoria,  was  sent  awaie  w*^^  tham- 
bassado^  of  Assambei,  King  of  Persia:  who  was  come  to  Venice 
to  compfort  the  Signoria  to  folowe"  the  warres  against  the  said 
Ottomanno." 

Ramusio  interpolates  a  note  in  Barbaro's  last  paragraph 
which  fixes  the  final  date,  —  "I  finished  the  writing  on  the  21st 
December,  1487." 

The  translation  of  Ambrogio  Contarini  is  a  contemporary 
one,  made  by  Mr.  Roy  of  the  British  Museum. 

For  an  account  of  William  Thomas,  see  The  Principal  Rules 
of  the  Italian  Grammer  (1550). 


X 

HISTORY  AND  POLITICS 


X 


HISTORY  AND  POLITICS 
315 

[1550?]  The  History  of  Herodian,  a  GreeJce  Authour^  treating 
of  the  Romayne  Emperors  after  Marcus,  translated  oute  of  Greeke 
into  Latin  by  Angelus  Politianus,  and  out  of  Latin  into  Eng- 
lysche  by  Nicholas  Smyth.  Whereunto  are  annexed,  the  Argu- 
mentes  of  euery  Booke,  at  the  begynning  thereof,  with  Annotations 
for  the  better  under standynge  of  the  same  Hystorie. 

Imprynted  at  London,  in  Flete  Strete,  by  Wyllyam  Cop- 
lande,  at  the  Sygne  of  the  Rose  Garlande.  [1550?]  Black 
letter.  4to.  British  Museum. 

The  Greek  text  of  Herodian,  with  Pohtian's  Latin  transla- 
tion, appeared  at  Basle,  in  1535. 

The  British  Museum  contains  a  copy  of  the  original,  dated 
1568,  — 

Herodiani  historiae  de  imperio  post  Marcum,  vel  de  suis 
temporibus  e  Graeco  translatae  J..[ngelo]  Politiano  interprete. 
It  is  in  Volume  ii  of 

Varii  Historiae  Romanae  scriptores,  partim  Graeci  partim 
Latini,  in  unum  velut  corpus  redacti.  De  rebus  gestis  ab  urbe 
condita,  usque  ad  Imperii  Constantonopolin  translati  tempora, 
.  .  .  [By  H.  Stephanas?]  ^  vols. 

H.  Stephanus.  [Geneva?]  1568.  8vo. 

The  history  of  Herodian  extends  from  the  death  of  Marcus 
Aurelius,  March  17,  180,  to  233,  a.d.,  and  includes  the  reigns 
of  the  Emperors  Commodus,  Pertinax,  Didius  Julianus,  Sep- 
timus Severus,  Caracalla,  Macrinus,  Elagabalus,  Alexander 
Severus,  Maximin,  the  two  Gordians,  and  Maximus  and  Bal- 
binus. 


394  ELIZABETHAN  TRANSLATIONS 


316 

1562.  Two  very  notable  Commentaries ^  the  me  of  the  originall 
of  the  Turcks  and  Empire  of  the  house  of  Ottomanno,  written  by 
Andrewe  Cambine,  and  thother  of  the  warres  of  the  Turcke  against 
George  Scanderbeg,  'prince  of  Epirus,  and  of  the  great  victories 
obteyned  by  the  said  George.  ,  ,  .  Translated  oute  of  Italian  into 
Englishe  by  7.  Shute, 

B.  Hall,  for  Humfrey  Toye,  London,  1562.  4to.  Black  letter. 
British  Museum  (2  copies). 

Dedicated  to  the  *liigh  Admirall/  Edward  Fiennes  de  Clin- 
ton, Earl  of  Lincoln.  There  is  a  long  preface  by  the  translator 
on  discipline  and  soldiery. 

The  first  of  these  commentaries  is  a  translation  of  Andrea 
Cambini's,  — 

Libro  d*  A.  C  .  .  .  delta  origine  de  Turchi  et  imperio  delli 
Ottomanni.  [With  a  Prefatory  Epistle  by  D.  di  Giunta.] 

Firenze.  1529.  12mo.  British  Museum. 

The  second  commentary  I  have  not  met  with.  Shute  says 
he  does  not  know  its  author. 

George  Castriota,  called  Scanderbeg  or  Skanderbeg,  from 
the  Turkish  Iskander  Beg  (Alexander  Bey),  was  an  Albanian 
chieftain  who  lived  from  1403  to  1467.  In  his  youth,  his 
father,  Ivan  (John)  Castriota,  lord  of  Kroya,  a  hereditary 
principality  in  Albania,  between  the  mountains  and  the  Adri- 
atic Sea,  sent  him  and  his  three  brothers  as  hostages  to  the 
Ottoman  Court.  When  John  Castriota  died,  in  1443,  the  Sul- 
tan, Amurath  II,  decided  to  annex  the  principality  to  Turkey. 
But  George  Castriota  returned  to  Albania,  in  1444,  pro- 
claimed his  independence,  and  resisted  successfully  for  twenty- 
three  years,  both  Amiu*ath  II  and  his  son  Mohammed  II, 
called  the  Conqueror.  Scanderbeg  finally  died  a  fugitive,  at 
Alessio  in  the  Venetian  territory,  and  Albania  (Epirus)  was 
added  to  the  Turkish  empire.  (Gibbon,  Decline  and  Fall  of  the 
Roman  Empire,  Vol.  vi,  pp.  360-64.) 


HISTORY  AND  POLITICS  395 


317 

1563.  The  Historie  of  Leonard  Aretine,  concerning  the  Warres 
hetwene  the  Imperialls  and  the  Gothes  for  the  possession  of  Italy. 
Translated  out  of  Latin  .  .  .hy  ^.[rthur]  Goldyng. 

London.  Printed  by  Rouland  Hall  for  G.  Bucke,  1563.  8vo. 
Black  letter.  180  leaves,  besides  an  epistle  and  a  preface. 
British  Museum. 

Dedicated  to  Sir  William  Cecil,  in  whose  family  Golding 
was  living. 

A  translation  of  Leonardi  Aretini  de  hello  Italico  adversus 
Gotthos. 

Nicolaus  Jenson.  [Venice.]  1471.  4to.  British  Museum. 

318 

[1570.]  A  very  hriefe  and  profitable  Treatise  declaring  howe 
many  counsellsy  and  what  maner  of  Counselers  a  Prince  that 
will  governe  well  aught  to  haue.  [Translated  by  Thomas  Blimde- 
ville,  from  the  Italian  version  of  Alfonso  d*  Ulloa.] 

W.  Seres.  London.  [1570.]  Svo.  British  Museum. 

There  is  a  dedication,  dated  from  Newton  Flotman,  1  April, 
1570,  to  the  Earl  of  Leicester. 

The  original  of  this  is  a  Spanish  work  by  Federigo  Furio 
Ceriol,  — 

El  Concejo  i  Consejeros  del  Principe  .  .  .  que  es  el  libro  primero 
del  quinto  tratado  de  la  institucion  del  Principe. 
Anvers.  1559.  Svo.  British  Museum. 

I  do  not  find  an  Italian  version  by  Alfonso  de  Ulloa,  but 
there  is  one  by  his  friend  and  correspondent,  the  voluminous 
Lodovico  Dolce,  — 

II  concilioy  overo  Conciglio  et  i  Consiglieri  del  Prencipe. 
Opera  di  F.  C.  .  .  .  tradotta  di  Lingua  Spagnvx)la  nella  volgare 
Italiana  per  L.  Dolce. 

Vinegia.  1560.  Svo.  British  Museum. 

Alfonso  de  Ulloa  was  a  Spaniard  who  knew  Italian  so  well 
that  he  rendered  Spanish  and  Portuguese  works  into  that  Ian- 


396  ELIZABETHAN  TRANSLATIONS 


guage.  His  most  famous  translation  is  the  Vita  delV  Ammi- 
raglio  (1571),  Ferdinand  Columbus's  life  of  his  father,  a  book 
now  of  priceless  value,  because  the  original  does  not  survive. 
Washington  Irving  described  the  Vita  as  "an  invaluable  docu- 
ment, entitled  to  great  faith,  and  is  the  corner-stone  of  the  his- 
tory of  the  American  continent." 

319 

1572.  The  true  Report  of  all  the  successe  of  Famagosta,  of  the 
antique  writers  called  Tamassus,  a  Citie  in  Cyprus.  In  the  which 
the  whole  order  of  all  the  skirmishes,  batteries,  mines  and  as- 
saultes  geven  to  the  sayd  Fortresse,  may  plainly  appeare.  More- 
over the  names  of  the  Captaines,  and  number  of  the  people  slaine, 
as  well  of  the  Christians  as  of  the  Turhes:  likewise  of  those  who 
were  taken  prisoners:  from  the  beginning  of  the  sayd  siege  untill 
the  end  of  the  same.  Englished  out  of  Italian  [of  Count  Nes- 
tore  Martinengo]  by  TF.[illiam]  Malin  [or  Malim].  With  cer- 
taine  notes  of  his  and  expositions  of  all  the  Turkishe  wordes 
herein  necessary  to  be  knowen,  placed  in  the  margent,  with  a  short 
description  also  of  his  of  the  same  Hand. 

Imprinted  at  London,  by  John  Daye.  1572.  4to.  Black  let- 
ter. British  Museum.  1599.  Folio.  British  Museum.  1810. 
Folio.  British  Museum.  Reprinted  by  Richard  Hakluyt,  in 
The  Principal  Navigations,  etc.,  v,  118-52  (ed.  MacLehose  and 
Sons,  1903-05). 

A  translation  of  the  Count  Nestore  Martinengo's 

Relatione di  tutto  il  successo  di  Famagosta:  doves'  intende  .  .  . 
tutte  le  scaramuccie,  batterie,  mine  &  assalti  dati  ad  essa  fortezza. 
Et  ancora  i  nomi  de  i  Capitani,  &  numero  delle  Genti  morte,  .  .  . 
et  medesimamente  di  quelli,  che  sono  restati  prigioni. 

G.  Angehiri.  Venefia.  1572.  4to.  British  Museum. 

Malim,  who  was  headmaster  successively  of  Eton  and  of 
St.  Paul's  School,  dedicates  his  work  to  the  Earl  of  Leicester, 
"from  Lambheth,  the  23rd  of  March,  An.  1572."  The  dedi- 
cation occupies  seven  pages  out  of  a  total  of  forty-eight  for  the 
whole  pamphlet. 


HISTORY  AND  POLITICS  397 


The  date  of  George  Gascoigne's  Mash  for  Viscount  Montacute 
(1572),  is  fixed  by  his  mention  of  the  siege  of  Famagosta, 
doubtless  in  allusion  to  this  translation.  The  siege  occurred  in 
August,  1571. 

320 

1574.  The  true  order  and  Methode  of  wryting  and  reading 
Hystories  according  to  the  Precepts  of  Francisco  Patricio  and 
Accontio  Tridentino,  no  less  plainely  than  briefly  set  forth  in  our 
vulgar  speach,  to  the  greate  profite  and  commoditye  of  all  those 
that  delight  in  Hystories.  [By  Thomas  Blundeville.] 

W.  Seres.  London.  1574.  8vo.  British  Museum. 

This  is  a  translation  of  Francesco  Patrizi's  Delia  Historia 
diece  dialoghi  ,  .  .  ne'  quali  si  ragiona  di  tutte  le  cose  apparte- 
nenti  alV  historia,  et  alio  scriverla,  et  alV  osservarla. 

A.  Arrivabene.  Venetia.  1560.  4to.  Pp.  63.  British  Museum 
(2  copies). 

See  also,  — 

J,  A.  [Jacobus  Acontius]  Tridentini  de  Methodo,  etc.,  in  G.  J. 
Vossii  [Gerardus  Vossius,  Canon  of  Canterbury]  et  aliorum  de 
studiorum  ratione  opuscula. 

Ultrajecti.  1651.  12mo.  British  Museum. 

Dedicated  to  the  Earl  of  Leicester,  to  whom  Blundeville 
writes  that  he  gathered  his  work  partly  "out  of  a  little  treaty se 
which  myne  olde  friende  of  good  memorie,  Accontio,  did  not 
many  yeares  since  present  to  your  Honour  in  the  Italian 
tongue."  A  manuscript  on  the  use  and  study  of  history,  written 
in  Italian,  and  presented  to  the  Earl  of  Leicester,  by  Jacopo 
Acconcio,  in  August,  1564,  is  preserved  in  the  Public  Record 
Office, 

321 

1575.  A  notable  Historye  of  the  Saracens,  briefly  and  faith- 
fully descrybing  the  originall  beginning,  continuaunce  and  suc- 
cesse  aswell  of  the  Saracens,  as  also  of  Turkes,  Souldans,  Mama- 
lukes,  Assassines,  Tartarians  and  Sophians,  with  a  discourse 


398  ELIZABETHAN  TRANSLATIONS 


of  their  affaires  and  Actes  from  the  hyrthe  of  Mahomet  their  first 
peeuish  prophet  and  founder  for  700  yeeres  space;  whereunto  is 
annexed  a  compendious  chronycle  of  all  their  yeerely  exploytes 
from  the  sayde  Mahomefs  time  tyll  this  present  yeere  of  grace 
1575.  Drawen  out  of  Augustine  Curie,  and  sundry  other  good 
Authours  by  Thomas  Newton. 

Imprinted  at  London  by  William  How  for  Abraham  Veale 
dwelling  in  Paules  Churchyard,  at  the  signe  of  the  Lambe. 
1575.    4to.  Black  letter.    144  leaves.    British  Museum, 

Dedicated,  "to  the  Ryghte  Honorable  the  Lorde  Charles 
Howarde,  Baron  of  Effyngham." 

A  translation  of  C[aelius]  -4.[ugustinus]  Curionis  Sarra- 
cenicae  Hisioriae  libr:  III.  .  .  .  His  accessit  V.  Drechsleri  rerum 
Sarracenicarum  Turdcarumque  chronicon,  auctum  et  ad  annum 
MD.LXVII  u^que  perductum. 

Basiliae.  1567.  Folio.  Francofurti.  1596.  Folio.  British 
Museum. 

The  second  book  contains  an  interesting  account  of  the  battle 
of  Roncesvalles,  in  778,  and  the  death  of  Roland,  one  of  the 
most  popular  themes  of  mediaeval  romance. 

The  translator  is  Thomas  Newton,  of  Cheshire,  who  edited 
Seneca  his  tenne  Tragedies,  in  1581,  translating  the  Thebais 
himself.  Newton  wrote  the  most  elegant  Latin  elegiacs  of  the 
time,  and  often  prefixed  recommendatory  verses,  in  both 
Latin  and  English,  to  the  publications  of  his  friends.  His  chief 
patron  was  Robert  Devereux,  Earl  of  Essex. 

See  The  Life  and  Death  of  William  Longbeard,  etc.  (1593). 

322 

1576.  A  Moral  Methode  of  civile  Policie.  Contayninge  a 
learned  and  fruictful  discourse  of  the  institution,  state  and  govern- 
ment  of  a  common  Weale.  Abridged  oute  of  the  Comentaries  of 
.  .  .  jP.[rancesco]  Patricius  [Patrizi,  Bishop  of  Gaeta].  .  .  . 
Done  out  of  Latine  into  Englishe  by  i?.[ichard]  Robinson,  etc. 

T.  Marsh.  London.  1576.  4to.  Black  letter.  British  Mu- 
seum, 


HISTORY  AND  POLITICS  399 


A  translation  of  Francesco  Patrizi*s  F.  Patritii  Senensis  de 
Regno  et  Regis  Institutione  libri  IX,  etc.  [With  a  preface  by 
D.  Lambinus.] 

Apud  Aegidium  Gorhinum.  Parisiis.  1567.  8vo.  British 
Museum, 

323 

1579.  The  Historie  of  Guicciardin;  containing  the  Warres  of 
Italie  and  other  partes,  continued  for  manie  yeares  under  sundrie 
Kings  and  Princes,  together  with  the  variations  and  accidents  of 
the  same:  And  also  the  Arguments,  vnth  a  Table  at  large,  express- 
ing the  principall  matters  through  the  whole  historie.  Reduced 
into  English  by  Gefray  Fenton.  Mon  hem  viendra. 

Imprinted  at  London  by  Thomas  Vautrollier,  dwelling  in 
the  Black  Friers  by  Ludgate.  1579.  Folio.  Pp.  1184.  British 
Museum.  London.  1599.  Folio.  British  Museum  (2  copies). 
London.  1618.  Folio.  British  Museum, 

Dedicated  to  Queen  Elizabeth. 

A  translation  of 

Z'  historia  d'  Italia  di  F.  G.  [Edited  by  A.  Guicciardini.] 
L.  Torret[ino].  Firenze.  1561.  8vo.  British  Museum.  Also, 

Fiorenza.  1561.  Folio.  Venetia.   1563.  8vo.  Vinegia.  1567. 

4to. 

This  translation  of  Guicciardini  was  the  greatest  literary 
undertaking  of  Sir  Geoffrey  Fenton.  It  w^as  extremely  popular, 
and  seems  to  have  recommended  the  author  to  the  Queen's 
favor  permanently.  Soon  after  its  publication,  he  went  to  Ire- 
land, under  the  patronage  of  Arthur,  Lord  Grey  de  Wilton, 
where  he  wels  sworn  into  the  Privy  Council,  in  1580.  He  was 
knighted  in  1589,  and  remained  in  Ireland  as  principal  secre- 
tary of  state  through  a  succession  of  lord  deputies. 

Fenton  says  in  his  Dedication  to  Queen  Elizabeth,  —  "I 
am  bold,  under  fear  and  timidity,  to  prostrate  these  my  last 
pains  afore  that  divine  moderation  of  mind  which  always  hath 
holden  for  acceptable  all  things  respecting  learning  or  virtu- 
ous labors." 


400  ELIZABETHAN  TRANSLATIONS 


And  again,  —  "That  God  had  raised  and  estabhshed  her 
Majesty  a  sovereign  prince  of  several  nations  and  languages; 
and  with  the  fruits  of  a  firm  and  continued  peace,  had  plenti- 
fully enriched  the  people  of  her  dominions;  restored  religion 
and  the  church  of  Christ,  to  dwell  anew  among  us;  made  her 
strength  awful  to  all  her  neighbours;  and  lastly,  had  erected 
her  seat  upon  a  high  hill  or  sanctuary,  and  put  into  her  hands 
the  balance  of  power  and  justice,  to  peaze  and  counterpeaze 
at  her  will  the  actions  and  counsels  of  all  the  Christian  King- 
doms of  her  time." 

He  concludes,  —  "The  Lord  bless  your  Majesty  with  a  long 
and  peaceable  life,  and  confirm  in  you,  to  the  comfort  of  your 
people,  that  course  of  well-tempered  government  by  the  bene- 
fit whereof  they  have  so  long  lived  under  the  felicity  of  your 
name." 

"This  I  thought  worthy  of  extracting  from  the  grave  writer; 
who  lived  in,  and  was  an  observer  of  these  very  times:  to  show 
what  honour  and  reputation  she  had  by  this  time  of  her  reign 
attained  to  among  her  subjects,  and  through  the  Christian 
world,  for  her  great  wisdom,  learning,  favour,  and  protection 
of  true  religion,  and  abilities  in  government,  and  awful  respect 
among  the  princes  of  the  earth."  (Strype,  Annals  of  the  Re- 
formation, Bk.  II,  Pt.  II,  pp.  226-27.) 

Guicciardini's  Storia  d '  Italia  extends  over  forty  years,  from 
1494  to  1534.  During  the  latter  half  of  this  period  Guicciardini 
was  in  the  papal  service  as  governor  successively  of  Modena, 
Reggio,  Parma,  the  Romagna,  and  Bologna.  The  fact  that  he 
was  himself  a  conspicuous  actor  in  the  scene  enabled  him  to 
write  with  a  peculiarly  intimate  knowledge  of  the  events  and 
the  personages  of  contemporary  politics.  Keenly  observant, 
he  was  in  the  habit  of  recording  his  impressions  of  men  and 
things,  and  it  was  his  mental  turn  to  record  them  in  the  form 
of  aphorisms.  His  history  is,  therefore,  rather  the  maxims 
and  memoranda  of  a  statesman,  scientifically  arranged,  than 
a  philosophical  view  of  human  affairs. 

Montaigne  observes  acutely  of  Guicciardini's  moral  insen- 


HISTORY  AND  POLITICS  401 


sibility,  his  cold,  passionless  manner  of  depicting  a  great  na- 
tional tragedy,  the  decline  and  fall  of  his  own  country  after 
the  French  invasion  of  1494,  *  among  the  many  motives  and 
counsels  on  which  he  adjudicates,  he  never  attributes  any  one 
of  them  to  virtue,  religion,  or  conscience,  as  if  all  these  were 
quite  extinct  in  the  world.'  ^'I'ay  aussi  remarque  cecy,  que  de 
tant  d^ames  et  d' effects  qu'il  iuge^  de  tant  de  mouvements  ei  con- 
seilsy  il  n'en  rapporte  iamais  un  seul  a  la  vertu,  religion  et  con- 
science^  comme  si  ces  parties  la  estoient  du  tout  esteinctes  au 
monde"  {Essais  de  Montaigne,  Livre  ii,  Chapitre  x,  p.  227. 
Paris.  1876.) 

See  Two  Discourses  of  Master  Frances  Guicciardin  (1595). 

324 

1579.  The  Lives  of  the  Noble  Grecians  and  Romanes,  com- 
pared together  by  that  graue  learned  Philosopher  and  Historio- 
grapher, Plutarke  of  Chaeronea:  Translated  out  of  Greeke  into 
French  by  James  Amyot,  Abbot  of  Bellozane,  Bishop  of  Auxerre, 
one  of  the  King^s  Priuy  Counsel,  and  Great  Amner  of  Fraunce; 
and  out  of  French  into  Englishe  by  Thomas  North. 

Imprinted  at  London  by  Thomas  VautroUier  and  John 
Wight.  1579.  Folio.  British  Museum. 

A  new  title-page  introduces  "the  Lives  of  Hannibal  and 
Scipio  Africanus,  translated  out  of  Latin  into  French  by 
Charles  de  L'Ecluse,  and  out  of  French  into  English  by  Thomas 
North." 

Other  editions  were:  1595.  FoHo.  1603.  Folio.  1610-12. 
Folio.  1631.  Folio.  1657.  Folio,  —  all  in  the  British  Museum. 
Also,  Cambridge.  1676.  Folio.  British  Museum.  London. 
J.  M.  Dent.  1898. 

Dedicated  to  Queen  Elizabeth,  and  one  of  the  most  popular 
books  of  her  day. 

The  Lives  of  Hannibal  and  Scipio  Africanus  were  written 
by  the  humanist,  Donato  Acciajuoli.  North  found  them  in 

Les  vies  de  Hannibal  et  Scipion  VAfricain,  traduittes  par  C. 
de  VEscluse  [from  the  Latin  of  Donato  Acciajuoli]. 


402  ELIZABETHAN  TRANSLATIONS 


Paris.  1567.  8vo.  British  Museum,  in  the  third  edition  of 
Les  Vies  des  Hommes  illustres  Grecs  et  Romains,  comparees 
Vune  avec  V autre  .  .  .  translatees  de  Grec  en  Frangois  [by  J. 
Amyot,  Bishop  of  Auxerre]. 

Michel  de  Vascosan.  Paris.  1559.  Folio.  British  Museum, 
The  earliest  edition  of  Acciajuoli's  lives  I  find  is,  — 
Plutarch's  Parallel  Lives,  translated  into  Latin,  by  various 
persons,  including  Donato  AcciajuoWs  lives  of  Hannibal,  Scipio 
Africanus,  and  Charlemagne. 

[Rome.  1470?]  Folio.  British  Museum. 
Among  the  manuscripts  left  by  Henry  Parker,  Lord  Mor- 
ley,  are  translations  of  the  lives  of  Hannibal  and  Scipio  Afri- 
canus by  Acciajuoli.   (See  The  tryumphes  of  Fraunces  Pe- 
trarcke.  [1565?]) 

North's  book,  as  is  well  known,  was  Shakspere's  store-house 
of  classical  learning.  Page  after  page  of  the  *  lives'  of  Caesar, 
Brutus,  Antony,  and  Coriolanus,  in  Shakspere,  are  simply  the 
noble  English  of  North's  narrative  animated  by  the  life  and 
play  of  dialogue. 

325 

1582.  The  Revelation  of  S.  John  reueled  as  a  paraphrase.  ,  ,  . 
Written  in  Latine.  .  .  .  Englished  by  J.[ames]  Sandford. 
London.  By  Thomas  Marshe.  1582.  4to.  British  Museum, 
Dedicated  to  Robert  Dudley,  Earl  of  Leicester. 
This  is  a  translation  of  Giacopo  Brocardo's 
Interpretatio  et  paraphrasis  in  Apocalypsin. 
Leyden.  1580,  1610.  8vo. 

Giacopo  Brocardo  was  a  Venetian,  who,  in  1563,  pretended 
to  have  had  a  vision  in  which  was  revealed  to  him  the  appli- 
cation of  certain  passages  of  Scripture  to  particular  political 
events  of  the  time.  His  revelations  concerned  Queen  Eliza- 
beth, Philip  II,  the  Prince  of  Orange,  and  other  personages. 


HISTORY  AND  POLITICS  403 


326 

[1584.]  The  Praeface  of  J.  Brocard  upon  the  Revelation. 
[Translated  from  the  Latin,  of  Giacopo  Brocardo,  by  James 
Sandford?] 

[London?  1584.]  4to.  Black  letter.  British  Museum, 

327 

1590.  A  Discourse  concerninge  the  Spanishe  fleete  invadinge 
Englande  in  the  yeare  1588,  and  overthrowne  by  her  Ma^^' 
Navie  under  the  conduction  of  the  Right-honorable  the  Lorde 
Charles  Howarde  Highe  Admirall  of  Englande:  written  in  Ital- 
ian by  P.  Ubaldino  citizen  of  Florence  and  translated  for  A. 
Ryther  [by  Robert  Adams].  .  .  .  Unto  the  w^^  discourse  are  an- 
nexed certaine  tables  expressinge  the  severcdl  exploites  and  con- 
jlictes  had  with  the  said  fleete.  These  bookes,  with  the  tables  be- 
longinge  to  them  are  to  be  solde  at  the  shoppe  of  A.  Ryther,  beinge 
a  little  from  Leadenhall,  next  to  the  signe  of  the  Tower. 

A.  Hatfield.  London.  1590.  4to.  Black  letter.  British 
Museum.  Reprinted.  1740.  8vo. 

The  plates  referred  to  were  made  by  Robert  Adams,  sur- 
veyor of  the  Queen's  buildings,  and  were  published  separately 
under  the  title,  — 

Expeditionis  Hispanorum  in  Angliam  vera  descriptio  anno 

do.  MD.LXXXVIII. 

There  are  ten  plates,  showing  the  various  stages  of  the 
progress  and  defeat  of  the  Spanish  Armada  in  the  Channel 
and  around  the  British  Isles.  They  constitute  the  most  impor- 
tant record  of  the  Spanish  Armada  that  exists.  Edited  by 
Professor  Laughton  in  State  Papers  relating  to  the  Defeat  of  the 
Spanish  Armada.  Navy  Rec.  Soc.  i,  1-18. 

This  work  is  a  translation  of  Petruccio  Ubaldini's 

Cammentario  del  successo  deW  Armata  Spagnuola  nelV  assalir 
V  Inghilterra  Vanno  1588. 

Royal  MS,  14.  A.  x.  British  Museum. 

Dedicated  by  Augustine  Ryther  to  Lord  Charles  Howard  of 
EflSingham. 


404  ELIZABETHAN  TRANSLATIONS 


328 

1593.  The  Description  of  the  Low  countreys,  and  of  the  Pro- 
vinces thereof,  gathered  into  an  Epitome  out  of  the  Historie  of  L. 
Guicchardini.  [By  Thomas  Danett.] 

Imprinted  at  London  by  Peter  Short  for  Thomas  Chard. 
1593.  8vo.  British  Museum.  (1591.  16mo.  Lowndes.) 

Dedicated,  "To  the  Right  Honorable  my  especial!  Lord 
Burghley,  High  Treasorer  of  England,  Knight  of  the  most 
noble  Order  of  the  Garter,  and  Maister  of  hir  Majesties  Court 
of  Wards  and  Liveries." 

A  translation  of  Lodovico  Guicciardini's 

Descrittione  .  ,  .  di  tutti  i  Paesi  Bassi,  altrimente  detti  Ger- 
mania  inferiore,  etc. 

Anversa.  1567.  Folio.  British  Museum,  en  frangais  by  Fr. 
de  Belleforest.  Anvers.  1568.  Folio.  British  Museum. 

Thomas  Danett's  masterpiece  in  translation  is.  The  Historie 
of  Philip  de  Commines,  Knight,  Lord  of  Argentan  (1596);  this 
work  has  been  edited,  in  two  volumes,  with  an  Introduction, 
by  Charles  Whibley.  {The  Tudor  Translations,  xvii  and 
XVIII.  1897.)  Nothing  is  known  of  this  excellent  and  vigorous 
translator,  except  that,  besides  these  two  translations,  he  put 
forth,  in  1600,  a  Continuation  of  the  Historie  of  France  from  the 
death  of  Charles  the  Eighth,  when  Comines  endeth,  till  the  death 
of  Harry  the  Second  {1559). 

Danett's  style  is  admirable,  easily  ranking  him  among  those 
Elizabethans  who  wrote  distinguished  prose,  Sir  Thomas 
North,  William  Adlington,  Philemon  Holland,  and  Thomas 
Underdown. 

329 

1595.  The  Florentine  Historie  written  in  the  Italian  tongue 
by  Niccolo  Macchiavelli,  citizen  and  secretarie  of  Florence,  and 
translated  into  English  by  r.[homas]  5.[edingfield]  Esq. 

T.[homas]  C.[reede]  for  W.[illiam]  P.[onsonby].  London. 
1595.  Folio.  Pp.  222.  British  Museum  (2  copies). 


HISTORY  AND  POLITICS 


405 


Machiavelli.  With  an  Introduction  by  Henry  Cust.  M.P. 
Vol.  II. 

The  Florentine  History.  Translated  into  English  by  Thomas 
Beding field.  Anno  1595. 

London.  Published  by  David  Nutt  at  the  Sign  of  the 
Phoenix,  Long  Acre.  1905.  4to.  The  Tudor  Translations y  xl. 

Dedicated,  "To  the  Right  Honourable  Syr  Christopher 
Hatton,  Knight  of  the  Order,  one  of  Her  Majesties  Privie 
Councell,  and  Lord  Chancellour  of  England." 

A  translation  of  Machiavelli's 

Istorie  Fiorentine. 

Firenze;  Benedetto  di  Giunta.  1537.  4to.  British  Museum. 
Also,  nuovamente  .  .  .  ristampate.  In  casa  de"  Figliuoli  di  Aide 
Venegia.  1540.  8vo.  British  Museum,. 

Machiavelli's  Istorie  Fiorentine  was  begun  after  1520,  at 
the  instance  of  Cardinal  Giuho  de*  Medici;  it  was  completed 
in  1527,  and  dedicated  to  Cardinal  Giulio,  then  Pope  Clement 
VII.  It  recounts,  in  eight  books,  the  whole  story  of  Florence 
from  the  earliest  times  down  to  the  death  of  Lorenzo  de'  Medici, 
in  1492.  It  is  not,  however,  a  chronicle  of  events,  but  rather  a 
national  biography,  written  from  MachiaveUi's  poHtical  point 
of  view.  Having  formulated  a  theory  of  the  state  in  the  Prin- 
cipe and  the  Discorsi,  he  applies  these  abstract  principles  to 
the  example  furnished  by  the  Florentine  republic.  In  literary 
form  Machiavelli  modelled  his  history  upon  Livy,  a  pecu- 
liarly happy  choice  for  a  historian  in  whom  the  personal  equa- 
tion and  the  sense  of  literary  perspective  are  the  strongest 
qualities.  Following  the  classical  manner,  he  inserts  here  and 
there  speeches,  which  partly  embody  his  own  comments  on 
situations  of  importance,  and  partly  express  what  he  thought 
dramatically  appropriate  to  particular  personages. 

The  story  of  Rosamund's  revenge  upon  Alboin,  found  in 
the  Istorie  Fiorentine  {Libro  i),  is  the  subject  of  two  Eliza- 
bethan dramas,  and  one  Victorian  play. 

1.  The  Tragedy  of  Albovine,  King  of  the  Lombards.  Sir  Wil- 
liam D'Avenant.  Printed,  1629. 


406  ELIZABETHAN  TRANSLATIONS 


Plot  also  found  in  Bandello,  iii,  18;  Belief orest,  Histoires 
Tragiques,  iv,  73;  Queen  Margaret's  Heptameroriy  Nov.  32. 

2.  The  Witch.  Thomas  Middleton.  Printed,  1770. 

The  most  important  intrigue  of  the  tangled  plot  of  The 
Witch  is  again  the  tragedy  of  Rosamund  and  Alboin. 
Ward  (A  History  of  English  Dramatic  Literature^  ii,  509, 
and  III,  169, 1899)  thinks  that  both  Middleton  and  D  'Ave- 
nant  found  the  tale  in  Belleforest. 

3.  Rosamund,  Queen  of  the  Lombards:  A  Tragedy,  1899.  By 
Algernon  Charles  Swinburne. 

See  Tragicall  Tales  Translated  by  Turbervile  (1576). 

330 

1595.  Two  Discourses  of  Master  Frances  Guicciardin,  which 
are  wanting  in  the  thirde  and  fourth  Bookes  of  his  Historie,  in  all 
the  Italian,  Latin,  and  French  Coppies  heretofore  imprinted; 
which  for  the  worthinesse  of  the  matter  they  containe,  were  pub- 
lished in  those  three  Languages  at  Basile  1561,  and  are  now 
doone  into  English  [by  W.  I.].  It.  Lot.  Fr.  and  Eng. 

Printed  for  W.  Ponsonbie.  London.  1595.  4to.  British 
Museum. 

See  Fenton's  The  Historie  of  Guicciardin  (1579). 

331 

1595.  The  Histcyry  of  the  Warres  betweene  the  Turks  and  the 
Persians,  written  in  Italian  by  John  Thomas  Minadoi,  and 
translated  by  Abr.  Hartwell,  containing  the  Description  of  all 
such  Matters  as  pertaine  to  the  Religion,  to  the  Forces,  to  the  Gov- 
ernment, and  to  the  Countries  of  the  Kingdome  of  the  Persians; 
together  with  a  new  Geographicall  Mappe  of  all  these  Territories, 
and  last  of  all  is  discoursed  what  Cittie  it  was  in  the  old  Time 
which  is  now  called  Tauris,  &c. 

London.  J.  Wolfe.  1595.  4to.  Pp.  500.  British  Museum 
(2  copies). 

Dedicated  to  John  Whitgift,  Archbishop  of  Canterbury,  to 
whom  Abraham  Hartwell  was  secretary. 


HISTORY  AND  POLITICS 


407 


This  work  is  a  translation  of 

Historia  delta  Guerra  fra  Turchi,  et  Persiani  di  Giovanni 
Tommaso  Minadoi  .  .  .  dalV  istesso  riformatay  and  [sic?]  aggiun- 
tivi  i  successi  delV  anno  1586.  Con  una  descrittione  di  tutte  le 
cose  pertinente  alia  religioner  alia  Jorzey  at  governo^  &  al  paese 
del  Regno  de  Persiani,  et  una  Lettera  all'  IW^  M.  Corrado,  nella 
quale  si  dimostra  qual  citta  fosse  anticamente  quelta,  c'hora  si 
chiama  Tauris,  etc. 

Venetia.  1588.  4to.  Pp.  383.  British  Museum.  1594.  4to. 
British  Museum  (2  copies), 

Abraham  Hartwell,  the  younger,  flourished  1595-1603. 
He  was  probably  the  Abraham  Hartwell,  of  Trinity  College, 
Cambridge,  who  took  his  B.A.  degree  in  1571,  M.A.,  in  1575, 
and  was  made  an  M.A.  of  Oxford  in  1588.  About  1584,  he 
became  secretary  to  Archbishop  Whitgift,  to  whom  his  three 
translations  from  the  Italian  are  dedicated.  He  was  an  anti- 
quarian of  some  note,  and  died  rector  of  Toddington,  Bedford- 
shire, where  he  founded  a  library.  The  date  of  his  death  is 
unknown. 

Although  he  was  a  translator  of  geographical  writings,  he 
was  not  himself  a  traveller,  as  has  been  asserted. 

Giovanni  Tommaso  Minadoi  (1540-1615)  was  a  physician. 
After  being  graduated  from  the  University  of  Padua,  he  be- 
came physician  to  the  Venetian  consulates  in  Constantinople 
and  in  Syria,  where  he  collected  the  materials  for  his  history 
of  the  wars  between  the  Turks  and  Persians  (1576-88).  On 
his  return  from  the  East,  he  was  made  physician  to  William 
of  Gonzaga,  duke  of  Mantua.  In  1596,  he  was  preferred  to  the 
professorship  of  medicine  in  the  University  of  Padua.  He  died 
in  1615,  in  Florence,  where  he  had  been  summoned  by  Cosimo 
II,  Grand  Duke  of  Tuscany. 

In  The  Merchant  of  Venice,  ii,  1,  the  Prince  of  Morocco  says 
to  Portia,  — 

By  this  scimitar,  — 
That  slew  the  Sophy,  and  a  Persian  prince 
That  won  three  fields  of  Sultan  Solyman,  — 


408  ELIZABETHAN  TRANSLATIONS 


I  would  o*er-stare  the  sternest  eyes  that  look: 
Outbrave  the  heart  most  daring  on  the  earth: 
Pluck  the  young  sucking  cubs  from  the  she-bear. 
Yea,  mock  the  lion  when  he  roars  for  prey, 
To  win  thee,  lady. 

*The  Table'  at  the  end  of  The  History  of  the  Wanes  hetweene 
the  Turks  and  the  Persians  contains  the  definition:  *'Soffi,  and 
Sofito,  an  auncient  word  signifying  a  wise  man,  learned  and 
skilfuU  in  Magike  Naturall.  It  is  growen  to  be  the  common 
name  of  the  Emperour  of  Persia."  The  name  was  borne  first 
by  Ismail  Sophi,  founder  of  the  Suffavian  dynasty,  at  the  be- 
ginning of  the  sixteenth  century.  Twelfth  Night  bears  witness 
to  the  commonness  of  the  name  about  the  turn  of  that  cen- 
tury, for  the  *  Sophy '  is  mentioned  twice  in  that  play  (ii,  5,  and 
III,  5).  Solyman  the  Magnificent  had  an  unfortunate  campaign 
with  the  Persians  in  1535. 

The  adventures,  diplomatic  and  otherwise,  of  the  three 
Shirley  brothers  in  Persia  and  Turkey  undoubtedly  fired  the 
imagination  of  the  Elizabethans  as  to  the  unknown  Orient. 
See  the  historical  play,  called  The  Travels  of  the  Three  English 
Brothers  (1607),  by  John  Day,  William  Rowley,  and  George 
Wilkins. 

332 

1595.  The  Estate  of  the  Germaine  Empire,  with  the  Descrip- 
tion of  Germanie. 
London.  1595.  4to. 

This  is  a  translation  made  by  William  Phiston  of  two  books, 
one  Italian  and  the  other  Latin. 

333 

1599.  The  Commonwealth  and  Gouernment  of  Venice.  Writ- 
ten by  the  Cardinall  Gasper  Contareno,  and  translated  out  of 
Italian  into  English  by  [Sir]  Lewis  Lewkenor,  Esquire,  Nel  piu 
bel  vedere  cieco.  With  sundry  other  Collections,  annexed  by  the 
Translator  for  the  more  cleere  and  exact  satisfaction  of  the  Reader. 


HISTORY  AND  POLITICS  409 


With  a  short  Chronicle  in  the  end  of  the  Hues  and  raignes  of  the 
Venetian  Dukes,  from  the  very  beginninges  of  their  Citie. 

London:  Imprinted  by  John  Windet  for  Edmund  Mattes, 
and  are  to  be  sold  at  his  shop,  at  the  signe  of  the  Hand  and 
Plow  in  Fleetstreet.  1599.  4to.  115  leaves.  British  Museum. 

Dedicated  to  Anne  Russell  Dudley,  Countess  of  Warwick, 
and  with  commendatory  verses  by  Edmund  Spenser,  Sir  John 
Harington,  Maurice  KyflSn,  etc. 

A  translation  of  a  work  by  Cardinal  Gasparo  Contarini, 
Bishop  of  Belluno,  entitled,  — 

La  Republica  e  i  Magistrati  di  Vinegia  [translated  by  E.  Andi- 
timi]. 

Vinegia.  1544.  8vo.  British  Museum. 
The  original  was  written  in  Latin, 
De  Magistratibus  et  Republica  Venetorum  libri  v. 
Paris.  1543.  4to.  The  British  Museum's  copy  is  an  Aldine 
edition  of  this,  — 

De  Magistratibus,  et  Republica  Venetorum. 
Venetiis  ap.  Aldum.  1589.  4to. 

The  book  was  also  translated  into  French,  and  was  often 
reprinted. 

Epigram  26.    Book  iii. 

In  commendation  of  Master  Lewknor's  Sixth  Description  of  Venice. 
Dedicated  to  Lady  Warwick,  1595. 

Lo,  here  describ'd,  though  but  in  little  roome, 
Faire  Venice,  like  a  spouse  in  Neptune's  armes, 
For  freedome  emulus  to  ancient  Rome, 
Famous  for  councell  much,  &  much  for  armes, 
Whose  story,  earst  written  with  Tuscan  quill, 
Lay  to  our  English  wits  as  halfe  concealed. 
Till  Lewkners  learned  travel  and  his  skill 
In  well  grac'd  stile  and  phrase  hath  it  revealed. 
Venice,  be  proud,  that  thus  augments  thy  fame; 
England,  be  kind,  enricht  with  such  a  booke. 
Both  give  due  honor  to  that  worthy  dame, 
For  whom  this  taske  the  writer  undertook. 

John  Harington. 


410 


ELIZABETHAN  TRANSLATIONS 


The  antique  Babel,  Empresse  of  the  East, 
Upreard  her  buildinges  to  the  threatned  skie: 
And  Second  Babell,  tyrant  of  the  West, 
Her  ayry  Towers  upraised  much  more  high. 
But,  with  the  weight  of  their  own  surquedry. 
They  both  are  fallen,  that  all  the  earth  did  feare. 
And  buried  now  in  their  own  ashes  ly; 
Yet  shewing  by  their  heapes,  how  great  they  were. 
But  in  their  place  doth  now  a  third  appeare, 
Fayre  Venice,  flower  of  the  last  worlds  delight; 
And  next  to  them  in  beauty  draweth  neare. 
But  farre  exceedes  in  policie  of  right. 

Yet  not  so  fayre  her  buildinges  to  behold 
As  LewJcenors  stile  that  hath  her  beau  tie  told. 

Edm.  Spencer. 

The  running  title  of  the  "sundry  other  Collections"  is, — 
Diuers  Ohseruations  upon  the  Venetian  Commonwealth. 

Some  Notes  out  of  Girolamo  Bardi  begins  as  follows,  — 

"The  first  that  euer  inhabited  upon  that  Hand  called  the 
Rialto,  where  Venice  now  standeth,  was  one  Giovani  Bono  a 
poore  man,  that  hauing  there  a  simple  cottage  did  Hue  with 
his  family  by  taking  of  fish"  (p.  178). 

"The  length  of  the  great  channel,  is  a  thousande  and  three 
hundred  paces:  and  in  bredth  ouer  forty  paces,  it  is  wonder- 
fully beautified  on  eyther  side  with  most  suptuous  and  goodly 
pallaces,  you  cannot  go  ouer  it  a  foot,  but  at  one  bridge  onely, 
which  is  at  the  Ryalto.  There  are  thirteen  seueral  ferries  or 
passages,  which  they  call  TraghettV^  (p.  190). 

Thomas  Coryat  {Crudities,  1611,  i,  210)  and  Fynes  Moryson 
{Itinerary^  1617,  i,  77)  also  mention  the  thirteen  ferries  at 
Venice,  called  traghetti,  or  *trajects.' 

Shakspere  {The  Merchant  of  Venice,  iii,  4)  makes  Portia 
say,— 

Now,  Balthazar, 

As  I  have  ever  found  thee  honest-true. 
So  let  me  find  thee  still.  Take  this  same  letter. 
In  speed  to  Padua:  see  thou  render  this 
Into  my  cousin*s  hand,  Doctor  Bellario; 


HISTORY  AND  POLITICS 


411 


And,  look,  what  notes  and  garments  he  doth  give  thee, 
Bring  them,  I  pray  thee,  with  imagined  speed, 
Unto  the  Tranect,  to  the  common  ferry. 
Which  trades  to  Venice. 

"The  nonsensical  word  *  tranect,'  which  is  found  in  all  the 
quartos  and  folios,  and  has  been  retained  even  by  the  Cam- 
bridge editors,  proves  that  copyists  and  compositors  possessed 
no  knowledge  of  this  word,  and  still  less  of  the  thing  itself. 
Even  the  word  *traject,'  which  Theobald  has  correctly  re- 
stored, is  not  a  genuine  English  word,  otherwise  the  poet 
would  not  have  added  the  apposition  *'to  the  common  ferry," 
which  he  surely  did  only  to  make  the  meaning  clear  to  his 
readers  and  hearers.  What  visitor  to  Venice  does  not  here 
directly  recognize  the  Venetian  traghetto  (tragetto)  ?  "  Karl  Elze, 
from  whose  essay  on  The  Supposed  Travels  of  Shakespeare 
{Essays  on  Shakespeare,  p.  280),  I  quote,  goes  on  to  argue, 
interestingly,  that  Shakspere's  use  of  this  Venetian  word,  and 
his  exact  local  knowledge  of  Venice  before  Lewkenor's  trans- 
lation of  Contarini  was  published,  and  before  the  descriptions 
of  the  city  by  Coryat  and  Fynes  Moryson,  can  be  adequately 
explained  only  on  the  theory  that  Shakspere  had  himself  been 
a  traveller  in  Italy. 

"The  common  ferry"  in  the  poet's  time,  was  at  Fusine,  at 
the  mouth  of  the  Brenta,  about  five  miles  from  Venice,  where  a 
boat  was  drawn  over  a  dam  by  a  crane.  From  there  the  dis- 
tances between  Venice,  Padua,  and  the  palaces  of  the  mer- 
chant princes  on  the  Brenta  could  easily  be  covered  within  a 
few  hours,  just  as  Portia,  on  setting  out  for  Venice,  says  to 
Nerissa,  — 

For  we  must  measure  twenty  miles  to-day  (iii,  4). 

"Twenty  (like  forty)  very  frequently  serves  to  indicate  an 
indefinite  number.  It  is,  however,  an  exceedingly  remarkable 
coincidence  that  the  distance  between  Venice  and  Dolo  [a  pal- 
ace on  the  Brenta]  is  exactly  twenty  Italian  miles,  and  that 
the  Italian  mile  corresponds  exactly  to  an  English  mile.  Can 


412  ELIZABETHAN  TRANSLATIONS 


Shakspere  have  known  this,  and  is  his  statement,  after  all,  to 
be  taken  literally?"  (K.  Elze,  Essays  on  Shakespeare,  p.  279.) 

In  Volpone  (1607,  iv,  1),  Sir  Politick  Would-be  tells  Pere- 
grine, "a  Gentleman  Traveller,"  that  within  a  week  after 
landing  in  Venice  everybody  took  him  for  a  Venetian,  — 

I  had  read  Contarene,  took  me  a  house. 

Dealt  with  my  Jews  to  furnish  it  with  moveables  — 

334 

1600.  The  Historie  of  the  uniting  of  the  Kingdom  of  Por- 
tug  all  to  the  Crowne  of  Castillo  containing  the  last  war  res  of  the 
Portugalls  against  the  Moores  of  Africke,  the  end  of  the  house  of 
Portugall  and  change  of  that  government.  The  description  of 
Portugally  their  principal  Townes,  castles,  places,  rivers,  bridges, 
passages,  forces,  weakenesses,  revenues  and  expences;  of  the  East 
Indies,  the  Isles  of  Terceres,  and  other  dependences,  with  many 
battailes  by  sea  and  lande,  skirmishes,  encounters,  sieges,  orations, 
and  stratagemes  of  warre. 

Imprinted  at  London  by  Arn.  Hatfield  for  Edward  Blount. 
1600.  Folio.  Pp.  324.  British  Museum. 

The  dedication  to  "Henry  Earle  of  Southampton  is  signed, 
Edw.  Blount,"  but  the  Dictionary  of  National  Biography  says 
Blount  styled  it  "a  translation  *by  a  respected  friend.'  " 

The  original  is  Girolamo  Franchi  de  Conestaggio's 

Deir  Unione  del  Regno  di  Portogallo  alia  corona  di  Castiglia, 
istoria  del  Sig.  Jeronimo  de  Franchi  Conestaggio  [or  of  J.  de 
Silva,  Count  Portalegre?]. 

Genova.  1585.  4to.  British  Museum. 

A  French  translation  of  this  curious  work,  by  Th.  Nardin, 
was  published  at  Besangon  (1596,  8vo) ;  a  Latin  version  came 
out  in  Frankfort  (1602,  4to) ;  and  it  was  translated  into  Span- 
ish, by  Luis  de  Bavia  (Barcelona,  1610,  4to). 

It  is  said  that  the  real  author  of  this  history  was  Joao  da 
Silva  who  masked  himself  behind  the  name  of  Girolamo 
Franchi  de  Conestaggio  (d.  1635).  Don  Joao  da  Silva,  4th 
Count  of  Portalegre  (1528-1601),  was  the  son  of  a  Spanish 


HISTORY  AND  POLITICS 


413 


father  and  a  Portuguese  mother.  He  accompanied  Don  Se- 
bastian into  Africa  as  Spanish  ambassador,  and  was  commis- 
sioned by  Phihp  II  to  perform  certain  services  in  connection 
with  the  Spanish  claim  to  the  throne  of  Portugal. 

335 

1600.  The  Mahumetane  or  Turkish  Hy story containing  three 
Bookes.  .  .  .  Heereunto  have  I  annexed  a  brief  e  discourse  of  the 
warres  of  Cypres  .  .  .  and  ...  a  discourse  conteining  the  causes 
of  the  greatnesse  of  the  Turkish  Empire.  Translated  from  the 
French  and  Italian  tongues  by  R.  Carr,  of  the  Middle  Temple, 
in  London,  Gentleman. 

London:  Printed  by  Thomas  Este  dwelling  in  Aldersgate 
street.  1600.  4to.  122  leaves.  British  Museum. 

Each  book  is  dedicated  to  one  of  the  three  brothers,  Rob., 
Will.,  and  Edw.  Carr  separately;  and  The  Narration  of  the 
Warres  of  Cyprus  to  them  all  jointly.  The  translator  was 
Ralph  Carr. 

See  Censura  Literaria,  Vol.  viii,  p.  149,  and  Herbert,  Typo- 
graphical Antiquities,  Vol.  ii,  p.  1021. 

336 

1601.  Civill  Considerations  upon  many  and  sundrie  his- 
tories, as  well  ancient  as  moderne,  and  principallie  upon  those  of 
Guicciardin.  .  .  .  Handled  after  the  manner  of  a  discourse,  by 
the  Lord  Remy  of  Florence  [Remigio  Nannini,  Fiorentino], 
and  done  into  French  by  G.  Chappuys  .  ,  .  and  out  of  French  into 
English,  by  W.  T. 

Imprinted  by  F.  K.  for  M.  Lownes.  London,  1601.  Folio. 
British  Museum. 

The  Italian  original  of  this  work  is,  — 

Consider ationi  Civili,  sopra  1*  Historic  id  F.  Guicciardini,  e 
d*  altri  historici,  trattate  per  modo  di  discorso  da  M.  Remigio 
Fiorentino,  .  .  .  con  alcune  lettere  familiari  delV  istesso  sopra 
varie  materie  scritte  a  diver  si  GentiV  huomini,  e  CXLV.  adverti- 
menti  di  F.  Guicciardini  nuovamente  posti  in  luce.  [Edited  by 
Sisto  da  Venetia.] 


414  ELIZABETHAN  TRANSLATIONS 


Venetia.  1582.  4to.  British  Museum. 

W.  T.  translated  from  Chappuis's  French  version,  — 

Considerations  civiles,  sur  plusieurs  et  diverses  histoires  tant 
anciennes  que  moderneSy  et  principallement  sur  celles  de  Guic- 
ciardin.  Contenans  plusieurs  prSceptes  et  reigles,  pour  Princes^ 
RSpubliques,  Capitaines  .  .  .  et  autres  Agents  .  .  .  des  Princes: 
avec  plusieurs  advis  touchant  la  vie  civile  .  .  .  traitees  par  maniere 
de  discours  par  Remy  Florentiuy  et  mises  en  Frangois  par  G. 
ChappuySy  etc. 

Paris.  1585.  8vo.  British  Museum. 

337 

1604.  The  Historic  of  all  the  Roman  Emperors,  beginning  with 
Caius  Julius  Caesar y  and  successively  ending  with  Rodulph  the 
Second  now  raigning,  first  collected  in  Spanish  by  P.  Mexia, 
since  enlarged  in  Italian  by  Lodovico  Dulce  and  Girolamo  Bardiy 
and  now  Englished  by  W.  r.[raheron]. 

Imprinted  at  London  by  [F.  Kyngston]  for  Matthew  Lownes. 
1604.  FoHo. 

Dedicated  to  Colonel  Horatio  Vere. 

The  imperiall  historic,  or  the  lives  of  the  Emperours,  from 
Julius  Caesar  .  .  ..  unto  this  present  yeere,  containing  their  lives 
and  actions,  with  the  rising  and  declining  of  that  Empire,  the  ori- 
ginall  and  successe  of  all  those  barbarous  nations  that  have  in- 
vaded it  and  ruined  it  by  peecemeale,  with  an  ample  relation  of  all 
the  memorable  accidents  that  have  happened  during  these  last 
combustions,  first  written  in  Spanish  by  P.  Mexia,  and  since  con- 
tinued by  some  others  to  the  death  of  Maximilian  the  Second, 
translated  into  English  by  W.  r.[raheron],  now  corrected,  ampli- 
fied, and  continued  to  these  times  by  Edward  Grimeston,  Ser- 
geant at  Armes. 

Imprinted  at  London  by  H.  L.  for  Mathew  Lownes.  1623. 
Folio. 

Dedicated  to  Lionel  Cranfield,  Earl  of  Middlesex. 


HISTORY  AND  POLITICS  415 


338 

1606.  A  Treatise  concerning  the  causes  of  the  Magnificende 
and  Greatnes  of  Cities.  Devided  into  three  bookes  by  Sig.  Gio- 
vanni BoterOy  in  the  Italian  Tongue,  now  done  into  English,  by 
Robert  Peterson,  of  Lincolnes  Inne  Gent.  Dimidium  plus  toto. 

At  London.  Printed  by  T.  P.  for  Richard  Ockould  and 
Henry  Tomes,  and  are  to  be  sold  at  Grayes  Inne  Gate  in  Hol- 
borne.  Anno  Dom.  1606.  4to.  British  Museum. 

Dedicated,  to  *my  verie  good  Lord,  Sir  Thomas  Egerton, 
Knight.' 

A  translation  of  Giovanni  Botero's 

Delia  cause  deUa  grandezza  delle  citta,  libri  tre.  [Edited  by  S. 
Barberino.] 

Milano.  1596.  8vo.  British  Museum. 

This  work  came  to  many  editions,  and  was  translated  into 
Latin,  French,  Spanish,  and  German. 

339 

1623.  The  Popes  Letter  {20  April,  1623)  to  the  Prince 
[Charles]  in  Latine,  Spanish,  and  English.  .  .  .  A  Jesuites 
Oration  to  the  Prince  in  Latin  and  English. 

Printed  for  N.  Butter.  London.  1623.  4to.  British  Museum. 

A  letter  from  Alessandro  Lodovisio,  Pope  Gregory  XV,  to 
Charles  I  when  Prince  of  Wales;  a  later  reprint,  with  the  an- 
swer, explains  the  general  subject  of  the  correspondence,  — 

The  King  of  Scotland's  Negociations  at  Rome  [in  1650]  for 
assistance  against  the  Common-Wealth  of  England  in  certain 
propositions  there  made,  for,  and  on  his  behalf;  in  which  propo- 
sitions his  affection  .  .  .  to  poperie  is  asserted,  etc.  Ital.,  Lot., 
Eng.,  and  Fr.  {The  Pope's  letter  [of  20  Apr.  1623]  to  the  King 
[Charles  I]  when  Prince  of  Wales.  [With  the  answer.]) 

William  Dugard.  London.  1650.  4to.  British  Museum 
(2  copies). 


416  ELIZABETHAN  TRANSLATIONS 


340 

1626.  The  New-Found  Politick ^  disclosing  the  Intrigues  of 
State  .  .  .  now  translated  into  English.  [Part  iii,  by  Sir  William 
Vaughan.] 

London.  1626.  4to.  British  Museum. 

A  translation  of  Trajano  Boccalini's 

Pietra  del  Paragone  Politico  tratta  dal  Monte  Parnaso,  dove 
si  toccano  i  governi  delle  maggiori  monarchic  delV  universo. 
{Nuova  aggiunta  alia  Pietra  del  Paragone.) 

Cosmopoli  [Amsterdam.^]  1615.  4to.  British  Museum. 

The  head  title  reads,  De  i  Ragguagli  di  Parnaso  parte  terza 
di  Troiano  [sic]  Boccalini  Romano. 

The  English  translation  may  have  been  made  from  a  French 
one  of  the  same  year,  — 

Pierre  de  Touch  Politique  tiree  du  Mont  de  Parnasse.  Ou  il  est 
TraittS  du  Gouuernement  des  principales  Monarchies  du  Monde. 
Traduicte  en  Frangois,  de  I  'Italien  de  Traiano  Boccalini. 

Paris.  Jacques  Villery.  1626.  12mo.  Forbes  Library. 

Dedicated  to  King  Charles  I. 

Sir  William  Vaughan  (1577-1641)  was  younger  brother  to 
the  first  Earl  of  Carbery.  He  "became  chief  undertaker  for 
the  plantation  in  Cambriol,  the  southermost  part  in  New- 
foundland, now  called  by  some  Britanniola,  where  with  pen, 
purse,  and  person  [he]  did  prove  the  worthinesse  of  that  enter- 
prize."  Anthony  a  Wood  alludes  here  to  the  publication  of 
The  Golden  Fleece,  in  1626,  a  book  written  by  Vaughan  for 
the  purpose  of  attracting  emigrants  to  his  settlement.  Sir 
William  Vaughan  was  living  at  Cambriol  in  1628,  but  the 
colony  does  not  seem  to  have  proved  successful,  for  in  1630 
he  published  The  Newlander^s  Cure,  giving,  in  an  introductory 
letter,  some  account  of  his  experiences  in  the  New  World. 
The  undertaking  is  mentioned  in  Purchas,  —  "  The  Worship- 
full  William  Vaughan  of  Terracod,  in  the  Countie  of  Car- 
marthen, Doctor  of  the  Ciuill  Law,  hath  also  undertaken  to 
plant  a  Circuit  in  the  New-found  land,  and  hath  in  two  seuerall 


HISTORY  AND  POLITICS  417 


yeeres  sent  thither  diuers  men  and  women,  and  hee  is  wilHng 
to  entertaine  such  as  will  be  Adventurers  with  him  upon  fit 
conditions.'*  (Purchas  his  Pilgrimes  (1625.  Folio),  xix,  441 
(ed.  MacLehose  and  Sons.  1905).) 

341 

1636.  MachiaveVs  Discourses  upon  the  first  decade  of  T. 
Livius  [Books  i-iii],  translated  out  of  the  Italian;  with  some 
marginall  animadversions  noting  and  taxing  his  errours.  By 
E.[dward]  Z). [acres]. 

Imprinted  at  London  by  Thomas  Paine  for  William  Hills 
and  Daniel  Pakeman,  and  are  to  bee  sold  in  little  Brittaine 
at  the  white  Horse,  and  at  the  Rainbow  neere  the  Inner  Tem- 
ple. 1636.  12mo.  Pp.  646.  British  Museum  (2  copies). 

MachiaveVs  Discourses  upon  the  First  Decade  of  T.  Livius, 
translated  out  of  Italian.  To  which  is  added  his  Prince.  [The 
Life  of  Castruccio  Castracani,  etc.]  With  some  marginal  ani- 
madversions. ...  By  E.  D.  2  parts. 

T.  N.  for  D.  Pakeman.  London.  1663.  12mo.  2  parts. 
British  Museum.  Second  edition,  much  corrected,  etc.  For  C. 
Harper.  London.  1674.  8vo.  Pp.  686.  British  Museum. 
Cornell  University  Library  (the  copy  once  owned  by  Jared 
Sparks). 

Dedicated,  "To  the  Most  Noble  and  Illustrious  James 
[Stuart]  Duke  of  Lenox,  Earle  of  March,  Baron  of  Setrington, 
Darnly,  Tarbanten,  and  Methuen,  Lord  Great  Chamberlain 
and  Admiral  of  Scotland,  Knight  of  the  most  Noble  Order  of 
the  Garter,  and  one  of  his  Majesties  most  honourable  Privy 
Counsel  in  both  Kingdomes.'* 

A  translation  of 

Discorsi  di  Niccolo  Machiavelli  cittadino  et  Segretario  Fioren- 
tino  sopra  la  prima  deca  di  Tito  Livio.  L.  P.  Per  A.  Blado  de 
Asola. 

[Rome.]  1531.  8vo.  British  Museum.  [Including  Dacres*s 
translation  of  II  Principe  in  the  last  two  editions.] 

Dedicated  to  Cosmo  di  Rucellai  and  Zanobi  Buondelmonte, 
two  of  the  interlocutors  of  L'Arte  delta  guerra  (1521). 


418  ELIZABETHAN  TRANSLATIONS 


342 

1637.  Romulus  and  Tarquin.  First  Written  in  Italian  hy  the 
Marques  Virgilio  Malvezzi  and  now  taught  English  by  H.  C.  L. 
[i.e.,  Henry  Carey,  Baron  Carey  of  Leppington,  afterwards  Earl 
of  Monmoutli]. 

Printed  by  I.  H.  for  J.  Benson.  London.  1637.  12mo. 
British  Museum.  Also,  1638.  12mo.  British  Museum.  With 
commendatory  verses  prefixed  by  Thomas  Carew,  Sir  John 
Suckling,  Sir  William  Davenant,  Sir  Robert  Stapylton,  and 
others. 

Romulus  and  Tarquin.  Written  in  Italian  hy  the  Marques 
Virgilio  Malvezzi.  And  now  taught  English  by  Henry  Earle  of 
Monmouth.  The  Third  Edition. 

London.  Printed  for  Humphrey  Moseley,  and  are  to  be 
sold  at  his  shop  at  the  Prince's  Armes  in  St.  Paul's  Church- 
yard. 1648.  12mo.  British  Museum. 

Dedicated,  "to  the  most  sacred  Majesty  of  Charles  the 
First,  Monarch  of  Great  Britaine,  France,  and  Ireland,"  etc. 

This  work  is  a  translation  of  two  of  the  political  publica- 
tions of  the  Marquese  Virgilio  Malvezzi  (//  Rom,ulo.  Bologna. 
1629.  4to.  British  Museum,  and  II  Tarquinio  Superbo.  Venetia. 
1633.  12mo.  British  Museum). 

II  Romulo  is  a  biography  with  political  and  moral  reflec- 
tions; it  was  a  very  successful  book,  reprinted  several  times 
in  Italy  and  translated  into  French  and  Spanish. 

To  my  much  honoured  friend,  Henry  Lord  Cary  of  Lepington, 
upon  his  translation  of  Malvezzi 

In  every  triviall  worke 't  is  knowne 
Translators  must  be  masters  of  their  owne 
And  of  their  Author's  language;  but  your  taske 
A  greater  latitude  of  skill  did  aske; 
For  your  Malvezzi  first  requir'd  a  man 
To  teach  him  speak  vulgar  Italian. 
His  matter's  so  sublime,  so  now  his  phrase 
So  farre  above  the  stile  of  Bemboe's  dayes, 


HISTORY  AND  POLITICS  419 


Old  Varchie's  rules,  or  what  the  Crusca  yet 

For  currant  Tuscan  mintage  will  admit. 

As  I  beleeve  your  Marquesse,  by  a  good 

Part  of  his  natives,  hardly  understood. 

You  must  expect  no  happier  fate;  't  is  true 

He  is  of  noble  birth;  of  nobler  you: 

So  nor  your  thoughts  nor  words  fit  common  eares; 

He  writes,  and  you  translate,  both  to  your  peeres. 

Thomas  Carew, 

To  his  much  honoured  the  Lord  Lepington,  upon  his  translation 
of  Malvezziy  his  Romulus  and  Tarquin 

It  is  so  rare  and  new  a  thing  to  see 

Ought  that  belongs  to  young  nobility 

In  print,  but  their  own  clothes,  that  we  must  praise 

You  as  we  would  do  those  first  show  the  ways 

To  arts  or  to  new  worlds.  You  have  begun; 

Taught  travelled  youth  what 't  is  it  should  have  done 

For 't  has  indeed  too  strong  a  custom  been 

To  carry  out  more  wit  than  we  bring  in. 

You  have  done  otherwise:  brought  home,  my  lord. 

The  choicest  things  famed  countries  do  afford: 

Malvezzi  by  your  means  is  English  grown. 

And  speaks  our  tongue  as  well  now  as  his  own. 

Malvezzi,  he  whom 't  is  as  hard  to  praise 

To  merit,  as  to  imitate  his  ways. 

He  does  not  show  us  Rome  great  suddenly. 

As  if  the  empire  were  a  tympany. 

But  gives  it  natural  growth,  tells  how  and  why 

The  little  body  grew  so  large  and  high. 

Describes  each  thing  so  lively,  that  we  are 

Concerned  ourselves  before  we  are  aware: 

And  at  the  wars  they  and  their  neighbours  waged, 

Each  man  is  present  still,  and  still  engaged. 

Like  a  good  prospective  he  strangely  brings 

Things  distant  to  us;  and  in  these  two  kings 

We  see  what  made  greatness.  And  what't  has  been 

Made  that  greatness  contemptible  again. 

And  all  this  not  tediously  derived. 

But  like  to  worlds  in  little  maps  contrived. 

'T  is  he  that  doth  the  Roman  dame  restore, 

Makes  Lucrece  chaster  for  her  being  whore; 


420  ELIZABETHAN  TRANSLATIONS 


Gives  her  a  kind  revenge  for  Tarquin's  sin; 
For  ravish'd  first,  she  ravisheth  again. 
She  says  such  fine  things  after 't,  that  we  must 
In  spite  of  virtue  thank  foul  rape  and  lust. 
Since 't  was  the  cause  no  woman  could  have  had, 
Though  she's  of  Lucrece  side,  Tarquin  less  bad. 
But  stay;  like  one  that  thinks  to  bring  his  friend 
A  mile  or  two,  and  sees  the  journey's  end, 
I  straggle  on  too  far;  long  graces  do 
But  keep  good  stomachs  off,  that  would  fall  to. 
The  Poems,  Plays  and  Other  Remains  of  Sir  John  Suckling.  (Ed. 
W.  C.  Hazlitt,  1874,  Vol.  i,  p.  20.) 

The  Marquese  Virgilio  Malvezzi,  of  Bologna,  became  a  mem- 
ber of  the  Privy  Council  of  Philip  IV  of  Spain,  who  entrusted 
him  with  several  important  missions.  At  one  time  he  was  am- 
bassador to  England,  where  he  was  much  liked.  In  his  political 
writings  Malvezzi  founded  himself  consciously  upon  Machia- 
velli.  Five  of  his  books  in  history  and  politics  were  translated 
between  1637  and  1650. 

343 

1639.  The  History  of  the  Inquisition,  Composed  by  the  Rev. 
Father  Paul  Servita.  Translated  out  of  the  Italian  by  i2.[obert] 
Gentilis. 

J.  Okes,  for  H.  Mosley.  London.  1639.  4to.  British 
Mw5ewm  (3  copies) .  1655.  8vo.  British  Museum.  1676.  Folio. 
British  Museum. 

A  translation  of  Fra  Paolo's 

Historia  della  Sacra  Inquisitione  composta  .  .  .  dal  R.  P. 
Paolo  Servita  ed  hora  la  prima  volta  posta  in  luce,  etc. 
SerravaUe.  1638.  4to. 

344 

1640.  Nicholas  MachiaveVs  Prince.  Also,  the  Life  of  Cas- 
truccio  Castracani  [degli  Antelminelli,  duke]  of  Lucca.  And 
the  meanes  Duke  Valentine  us'd  to  put  to  death  Vitellozzo  Vitelli, 
Oliverotto  of  Fermo,  Paul,  and  the  Duke  of  Gravina.  Trans- 


HISTORY  AND  POLITICS  421 


lated  out  of  Italian  into  English.  By  E.[dward]  Z).[acres].  With 
Some  Animadversions  Noting  and  Taxing  his  Errours. 

R.  Bishop  for  Wil:  Hils  and  are  to  be  sold  by  D.  Pake- 
man.  London.  1640.  12mo.  Pp.  305.  British  Museum. 

Machiavelli.  With  an  Introduction  by  Henry  Oust.  M.P. 
Volume  I.  The  Art  of  War.  Translated  by  Peter  Whitehorne. 
1560.  The  Prince.  Translated  by  Edward  Dacres.  1640. 

London.  Published  by  David  Nutt  at  the  Sign  of  the 
Phoenix.   Long  Acre.    1905  .   4to.    The  Tudor  Translations, 

XXXIX. 

Dedicated,  "To  the  Most  Noble  and  Illustrious  James 
[Stuart]  Duke  of  Lenox,  Earle  of  March,  Baron  of  Setrington, 
Darnly,  Terbanten,  and  Methuen,  Lord  Great  Chamberlain 
and  Admiral  of  Scotland,  Knight  of  the  most  Noble  Order  of 
the  Garter,  and  one  of  his  Majesties  most  honourable  Privy 
Counsel  in  both  Kingdomes." 

A  translation  of  Machiavelli's 

II  Principe.  .  .  .  La  Vita  di  Castruccio  Castracani  da  Luca. 
.  .  .  II  Modo  che  tenne  il  Duca  Valentino,  per  ammazare  Vite- 
lozzo,  Oliver  otto  da  Fermo.  .  .  .  I  ritratti  delle  cose  delta  Francia, 
et  delta  Alamagna  .  .  .  nuovamente  aggiunti. 

Bernardo  di  Giunta.  Firenze.  1532.  4to.  British  Museum. 

II  Principe  was  dedicated  to  Lorenzo  de'  Medici  (1492-1519), 
Duke  of  Urbino. 

Machiavelli's  Prince  is  an  elaboration  of  one  line  of  thought 
of  the  Discourses,  upon  which  he  was  engaged  when  he  took 
it  in  hand.  Although  cast  in  the  form  of  comments  on  Livy, 
the  Discorsi  is  really  an  inquiry  into  the  genesis  and  mainte- 
nance of  the  state.  It  is  II  Principe  on  a  larger  scale,  copiously 
illustrated  by  historical  examples,  and  enriched  by  the  fruits 
of  Machiavelli's  own  experience  and  observation.  John  Mor- 
ley  characterizes  the  two  books  clearly,  —  "In  the  Prince  he 
lays  down  the  conditions  on  which  an  absolute  ruler,  rising  to 
power  by  force  of  genius  backed  by  circumstances,  may  main- 
tain that  power,  with  safety  to  himseK  and  most  advantage  to 
his  subjects;  while  in  the  Discourses  he  examines  the  rules  that 


m  ELIZABETHAN  TRANSLATIONS 


enable  a  self-governing  state  to  retain  its  freedom.  The  cardi- 
nal precepts  are  the  same.  In  either  case,  the  saving  principle 
is  one:  self-sufficiency,  military  strength,  force,  flexibility, 
address,  —  above  all,  no  half -measures.  In  either  case,  the 
preservation  of  the  state  is  equally  the  one  end,  reason  of  state 
equally  the  one  adequate  and  sufficient  test  and  justification 
of  the  means.  The  Prince  deals  with  one  problem,  the  Dis- 
courses with  the  other." 

As  to  the  minor  works  translated  by  Dacres,  Machiavelli's 
Life  of  Castruccio  Castracani  is  more  romance  than  history. 
Machiavelli  describes  Castruccio  as  a  foundling,  and  depicts 
him  when  Lord  of  Lucca  as  the  ideal  soldier  and  statesman. 
In  fact,  Castruccio  was  of  the  noble  family  of  the  Antelminelli. 
He  succeeded  Uguccione  della  Faggiuola,  Lord  of  Pisa,  at 
Lucca,  in  1315,  and  was  supported  by  the  Emperor  Louis  of 
Bavaria,  who  created  him  Duke  of  Lucca.  Castruccio  domi- 
nated all  Tuscany,  until  his  death,  in  1328,  enabled  the  Guelfs 
to  breathe  freely  again. 

The  story  of  Oliverotto  da  Fermo  is  told  in  the  eighth  chap- 
ter of  the  Prince.  He  was  one  of  the  condottieri  of  Cesare  Bor- 
gia who  revolted,  and  entered  into  a  conspiracy  against  him 
with  the  Orsini  family  at  Rome.  With  many  arts,  Cesare  got 
four  of  the  conspirators  to  visit  him  at  Sinigaglia,  where  two 
of  them,  Oliverotto  and  Vitellozzo,  were  seized  and  forthwith 
strangled,  31  December,  1502.  It  was  only  a  year  after  Oli- 
verotto had  become  tyrant  of  Fermo  by  murdering  his  uncle, 
Giovanni  Fogliani,  whom  he  had  invited  to  a  banquet  for  the 
express  purpose  of  making  way  with  him. 

The  character  of  Machiavelli  seems  to  have  made  a  pro- 
found impression  on  the  Elizabethan  dramatists.  Three  plays 
are  named  after  him:  — 

1.  Machiavel.  An  anonymous  play,  acted  at  the  Rose 
Theatre,  and  recorded  in  Henslowe's  Diary,  under  the  date, 
March  2,  1592. 

2.  Machiavel  and  the  Devil,  a  tragedy,  by  Robert  Daborne. 
Daborne  was  in  treaty  with  Henslowe  for  this  play  be- 


HISTORY  AND  POLITICS 


423 


tween  April  17,  and  June  25, 1613.  It  may  have  been  the 

older  play  worked  over. 
3.  Machiavellus.  By  D.  Wiburne. 

A  Latin  play  acted  at  Cambridge  University,  1597.  MS., 

of  date  1600,  Douce,  234,  Bodleian. 
Shakspere  alludes  to  Machiavelli  three  times,  — 

Alengon,  that  notorious  Machiavel. 

I  King  Henry  VI,  v,  4. 

I  can  add  colors  to  the  chameleon, 
Change  shapes  with  Proteus,  for  advantage, 
And  set  the  murd'rous  Machiavel  to  school. 

Ill  King  Henry  VI,  iii,  2. 

Peace,  I  say!  hear  mine  host  of  the  Garter. 
Am  I  politic?  am  I  subtle?  am  I  a  Machiavel? 

The  Merry  Wives  of  Windsor,  iii,  1. 

Marlowe  brings  Machiavelli  on  the  stage  in  person  as  the 
Prologue  to  the  Jew  of  M allay  expressing  his  admiration  for 
him  in  the  lines,  — 

I  count  religion  but  a  childish  toy, 
And  hold  there  is  no  sin  but  ignorance. 

Mr.  Courthope,  in  his  History  of  English  Poetry,  maintains 
that  all  of  Marlowe's  plays  are  but  different  conceptions  of 
Machiavelli's  principle  of  virtu.  In  this  view  Tamburlaine  is 
the  apotheosis  of  power  as  ambition;  Barabbas,  of  power  as 
revenge;  Faustus,  of  overweening  intellectual  power.  Whether 
Machiavelli  did  indeed  revolutionize  the  English  drama,  as 
Mr.  Courthope's  interesting  contention  holds,  certain  it  is 
that  he  was  a  familiar  and  popular  figure  on  the  stage.  Mr. 
Edward  Meyer,  in  his  dissertation,  Machiavelli  and  the  Eliza- 
bethan Drama  (Weimar,  1897),  has  collected  395  instances  of 
Machiavelli's  name,  or  supposed  maxims,  occurring  in  Eliza- 
bethan literature.  As  the  Prince  was  not  translated  until  1640, 
Mr.  Meyer  argues  that  the  source  of  EHzabethan  Machia- 
vellianism was  Simon  Patrick's  translation  of  Innocent  Gen- 
tillet's  Discours  d'Estat  sur  les  moyens  de  hien  gouverner  et 


424  ELIZABETHAN  TRANSLATIONS 


maintenir  en  bonne  paix  un  royaume  et  une  principautCy  contre 
Nicol.  Machiavel  (1576).  The  difficulty  of  this  argument  is, 
that,  although  the  dedication  of  Patrick's  translation  is  dated 
1577,  the  book  was  not  entered  on  the  Stationers'  Register y 
nor  printed,  until  1602.  Many  of  the  allusions  belong  to  the 
sixteenth  century.  It  is  possible  that  Patrick's  translation 
may  have  been  known  in  manuscript;  it  is  also  possible  that 
many  persons  may  have  read  Gentillet,  either  in  the  original 
Latin,  or  in  French.  From  the  vogue  of  Italian  at  the  time, 
and  from  the  constant  travelling  to  and  fro  between  England 
and  Italy,  I  myself  see  no  difficulty  in  supposing,  what  must 
have  been  the  fact,  that  educated  Englishmen  at  least  read 
Machiavelli  in  his  own  simple,  unaffected,  vivid  Italian. 
Machiavelli  is  a  writer  who  will  never  be  read,  except  by  the 
few,  but  his  positive  spirit,  his  practical  method,  is  precisely 
of  the  sort  that  must  have  appealed  most  strongly  to  the 
Elizabethans.  "We  are  much  beholden,"  said  Bacon,  in  the 
Advancement  of  Learning,  *'to  Machiavel  and  others  that 
wrote  what  men  do,  and  not  what  they  ought  to  do." 

The  Elizabethans  were  deeply  interested  in  government,  as 
the  English  have  always  been,  and  they  had  many  perplex- 
ing problems,  both  in  State  and  Church,  to  deal  with.  From 
abstract  principles  in  the  sphere  of  government,  Machiavelli 
appealed  to  experience;  for  authority  as  the  test  of  truth,  he 
substituted  scientific  facts.  All  this  seemed  well  enough  to  a 
people  in  the  first  blush  of  civil  and  religious  freedom,  but  it 
was  confusing,  it  was  especially  confusing  when  concretely 
applied  to  new  and  urgent  moral  questions,  such  as  early 
Protestant  England  had  to  settle.  The  popular  misconcep- 
tion of  Machiavelli  might  easily  have  arisen  in  ignorance,  it 
was  certainly  in  the  air,  as  Gentillet 's  book  shows;  it  must  have 
been  added  to  by  the  Italian  travellers'  reporting  half  truths; 
Marlowe's  extravagant  admiration  undoubtedly  overleaped 
the  mark;  and  lastly,  there  is  the  vitium  gentisy  the  natural 
antipathy  of  race  and  morale,  to  intensify  the  current  opinion. 

Lord  Burghley  and  Elizabeth  probably  rated  Machiavelli 


HISTORY  AND  POLITICS  425 


nearest  his  proper  worth,  and  it  is  well  known  that  both  these 
great  personages  walked  in  devious  paths.  Party  Govern- 
ment is  not  the  Reign  of  the  Saints,"  wittily  says  John  Mor- 
ley,  in  his  brilliant  Romanes  lecture  on  Machiavelli,  and  goes 
on  to  show  that  among  the  canonized  saints  of  the  Roman 
Church,  there  have  been  but  a  dozen  kings  in  eight  centuries, 
and  no  more  than  four  popes.  "So  hard  has  it  been,"  he  adds, 
quoting  Cosimo  de*  Medici,  "to  govern  the  world  by  pater- 
nosters." 

W.  Alison  Phillips,  in  an  article  on  The  Influence  of  Machia- 
velli on  the  Reformation  in  England  {The  Nineteenth  Century y 
December,  1896),  presents  Lord  Burghley  advising  Elizabeth, 
not  only  with  the  thought,  but  even  in  the  very  language,  of 
Machiavelli.  He  compares  II  Principe  and  the  Discorsi  with  a 
paper  {Fourth  Collection  of  Somers  Tracts^  Vol.  i,  p.  101)  en- 
titled. Advice  of  the  Lord  Treasurer  Burleigh  to  Queen  Elizabeth 
in  Matters  of  Religion  and  State. 

The  British  Museum  owns  a  volume  containing  copies  of 
Machiavelli's  Prince  and  Discourses  on  Livy  bound  together. 
These  imprints  were  ostensibly  published  in  Palermo  in  1584, 
but  from  certain  initial  woodcuts  they  are  now  judged  to  have 
been  actually  printed  in  London  by  John  Wolfe.  The  volume 
is  underlined  and  annotated  throughout,  and  bears  on  the 
title-page  the  signature,  "  W.  Cecil,"  not,  however,  in  the  hand- 
writing of  Lord  Burghley 

345 

1641.  An  History  of  the  Ciuill  Warres  of  England  betweene 
the  two  howses  of  Lancaster  and  Yorke.  The  originall  where  of 
is  set  downe  in  the  life  of  Richard  ye  second;  theire  proceedings 
in  ye  lives  of  Henry  ye  Henry  ye  and  6*'^  Edward  ye  and 
5'^  Richard  ye  3^  and  Henry  ye  7^^  in  whose  dayes  they  had  a 
happy  period.  Englished  by  ye  Right  Hon^^-  Henry  Earle  of 
Monmouth  in  two  Volumes. 

Imprinted  at  London  for  John  Benson  and  are  to  be  sould 
at  his  shop  in  S*  Dustans  churchyard.  1641. 


m  ELIZABETHAN  TRANSLATIONS 


The  Second  Part  of  the  History  of  the  Civill  Warres  of  England 
Between  the  two  Houses  of  Lancaster  and  Yorhe.  Wherein  is 
contained  The  Prosecution  thereof ,  in  the  lives  of  Edward  the 
fourth  Edward  the  fifth  Richard  the  third,  and  Henry  the  seventh. 
Written  originally  in  Italian  By  Sir  Francis  Biondi  Knight,  late 
Gentleman  of  the  Privy-Chamber  to  His  Majesty  of  Great  Brit- 
taine.  Englished  by  the  Right  Honourable,  Henry  Earle  of  Mon- 
mouth: The  second  Volume, 

London.  Printed  by  E.  G.  for  Richard  Whitaker,  and  are 
to  be  sold  at  his  shop  in  the  Kings  Armes  in  Pauls  Church- 
yard. 1646.  2  volumes  in  1.  Sm.  folio.  Peabody  Institute, 
Baltimore,  in  beautiful  binding,  full  fawn  calf,  extra,  gilt 
edges.  Pp.  177  +  236.  British  Museum. 

The  engraved  title-page  contains  portraits  (half  length)  of 
Charles  I  and  Queen  Henrietta  Maria,  and  of  Richard  II  and 
Henry  VII,  at  full  length. 

The  work  is  a  translation  of  Giovanni  Francesco  (Sir  John 
Francis)  Biondi's 

Z'  historia  delle  guerre  civili  d^  Inghilterra  tra  le  due  Cose  di 
Lancastro  e  di  lore,  sotto  Ricardo  II,  Arrigo  IV,  V,  VI,  Odoardo 
IV,  etc. 

Venezia.  1637-44.  4to.  3  vols.  British  Museum. 

Dedicated,  by  the  author,  Giovanni  Francesco  Biondi,  "To 
the  High  and  mighty  Monarch,  Charles,  King  of  great  Brit- 
aine,  France  and  Ireland." 

The  Earl  of  Monmouth  says  in  his  epistle  "To  the  Readers 
his  beloved  countrey-men,"  prefixed  to  the  Second  Part,  — 

"The  reasons  then  that  drew  me  to  this  (otherwise  Un- 
necessary) Epistle,  are;  First,  to  let  my  Readers  know,  lest  I 
may  seem  to  derogate  from  my  Authour,  by  tacitely  arrogat- 
ing to  My  Selfe,  that  the  three  Last  lives  [those  of  Edward 
the  fifth,  Richard  the  third,  and  Henry  the  seventh]  of  this 
Volume  are  not  yet  (as  I  can  heare  of)  printed  in  Italian,  and 
the  Authour  being  dead,  out  of  whose  Papers,  whilst  he  was 
here  in  England,  I  translated  them;  I  know  not  whether  they 
may  ever  undergoe  the  Presse  in  the  Language  wherein  they 


HISTORY  AND  POLITICS 


were  by  him  penn'd  or  no.  My  next  inducing  reason  is;  That 
the  subject  of  both  parts  of  this  Treatise  being  Civill  Warres, 
and  this  Second  comming  forth  in  a  Time  of  Civill  Warres  in 
the  Same  Countrey,  I  hope  I  may  be  excused  for  doing  what  in 
me  lies  to  perswade  to  a  Happy  Peace :  whereunto  I  know  no 
more  powerfull  Argument,  then  by  shewing  the  Miseries  of 
Warre,  which  is  a  Tragedie  that  alwaies  destroyes  the  Stage 
whereon  it  is  acted;  and  which  when  it  once  seizeth  upon  a  Land 
rich  in  the  plenty  of  a  Long  Peace,  and  full  with  the  Surfeit  of 
Continued  Ease,  seldome  leaves  Purging  those  Superfluities, 
till  All  (not  only  Superfluous  but  meere  Necessaries)  be  wasted 
and  consumed,  as  is  sufficiently  made  to  appeare  throughout 
this  whole  History." 

346 

1642.  Discourses  upon  Cornelius  Tacitus.  Written  in  Italian 
by  the  Learned  Marquesse  Virgilio  Malvezzi.  Dedicated  to  the 
Serenissimo  Ferdinand  the  second  Great  Duke  of  Thuscany. 
And  Translated  into  English^  by  Sir  Richard  Baker,  Knight. 

London.  Printed  by  E.  G.  for  R.  Whitaker,  and  Tho.  Whit- 
aker,  at  the  Kings  Armes  in  S.  Pauls  Churchyard.  1642.  FoHo. 
British  Museum.  Owned  by  the  author. 

Dedicated,  "To  the  Right  Honourable  William  Lord  Vis- 
count Say,  and  Scale,  Master  of  his  Highnesse  Court  of  Wards 
and  Liveries,  and  one  of  his  Majesties  most  Honourable  Privy 
Counsell.'*  Wilham  Fiennes,  Viscount  Say  and  Sele,  was  nick- 
named "Old  Subtlety." 

A  translation  of  the  Marquese  Malvezzi's 

Discorsi  sopra  il  libro  primo  degli  Annali  di  Cornelio  Tacito. 

Venetia.  1622.  4to. 

Discorsi  sopra  Cornelio  Tacito.  Venetia.  1635.  4 to.  British 
Museum  (2  copies). 

Sir  Richard  Baker  (1568-1645)  made  this  translation  in 
the  Fleet  prison,  where  he  lived  from  about  1635  until  his 
death. 

It  is  impossible  to  mention  Sir  Richard  Baker  without  re- 


428  ELIZABETHAN  TRANSLATIONS 


ferring  to  his  famous  book,  the  Chronicle  of  the  Kings  of  Eng- 
land from  the  time  of  the  Romans'  Government  unto  the  Death  of 
King  James,  which  appeared  in  1643.  Baker's  Chronicle  was 
reprinted  ten  times  up  to  1733,  was  continued  to  the  year  1658 
by  Edward  PhilHps,  Milton's  nephew  (1660),  was  abridged 
(1684),  and  was  translated  into  Dutch  (1649).  It  is  written 
in  a  pleasant,  readable  style,  and  was  long  popular  with  coun- 
try gentlemen.  Addison  represents  Sir  Roger  de  Coverley  as 
well  posted  in  his  Chronicle^  which  he  always  kept  lying  in  his 
hall  window.  One  of  the  most  humorsome  papers  of  The 
Spectator  is  that  (No.  329,  March  18,  1712)  describing  Sir 
Roger's  going  through  Westminster  Abbey  with  Baker's 
Chronicle  on  the  tip  of  his  tongue.  Before  the  figure  of  Queen 
Elizabeth's  maid  of  honor  who  died  from  the  prick  of  her 
needle,  he  wonders  why  Sir  Richard  Baker  has  said  nothing 
about  her;  he  informs  The  Spectator  that  Edward  the  Con- 
fessor was  the  first  who  touched  for  the  evil;  Henry  IV  reminds 
him  that  "there  was  fine  reading  in  the  casualties  of  that 
reign";  upon  the  whole,  he  observes  with  some  surprise,  that 
Sir  Richard  Baker  "had  a  great  many  kings  in  him  whose 
monuments  he  had  not  seen  in  the  Abbey." 

So  Fielding,  in  Joseph  Andrews,  refers  to  Baker's  Chronicle 
as  part  of  the  furniture  of  Sir  Thomas  Booby's  house. 

There  is  one  notable  accuracy  in  Baker's  Chronicle;  it 
gives  for  the  first  time  the  correct  date  of  the  poet  Gower's 
death. 

347 

1647.  The  Pourtract  of  the  Politicke  Christian-Favourite. 
Originally  drawn  from  some  of  the  actions  of  the  Lord  Duke  of 
St.  Lucar.  .  .  .  To  this  translation  is  annexed  the  chiefe  State 
Maxims  .  .  .  and  ...  observations  .  .  .  upon  the  same  story  of 
Count  OlivareSy  Duke  of  St.  Lucar. 

London.  1647.  8vo.  British  Museum. 

A  translation  of  Malvezzi's 

II  Ritratto  del  Privato  Politico  Christiano  estratto  dalV  origi- 


4 


HISTORY  AND  POLITICS 


429 


nale  d*  alcune  attione  del  Conte  Duca  di  S.  Lucar  [i.e.,  G.  de 
Guzman]  dal  Marchese  V,  Malvezzi. 
Bologna.  1635.  4to.  British  Museum, 

"Wee  thank  you,  worthy  Sir,  that  now  we  see  Malvezzi 
languag'd  Hke  our  infancie,"  etc.  So  wrote  Henry  Vaughan 
Silurist  in  a  poem  of  Olor  Iscanus  addressed,  "To  my  Learned 
Friend  Mr.  T.  Powell,  upon  his  translation  of  Malvezzi's 
Christian  Politician.'' 

In  a  letter  to  his  cousin,  John  Aubrey,  the  antiquary,  dated 
"Newton,  Julie  7th,  —  73,"  Vaughan  mentions  among 
"Manuscripts  left  in  my  custodie,  and  not  yet  printed:"  — 

The  Christian  Politic  Favourite,  or  A  vindication  of  the  politic 
transactions  of  the  Count-duke  de  S.  Lucar:  that  great  minister 
of  state  and  favourite  Counsellour  to  Philip  the  Jfth  of  Spain; 
written  originalie  hy  Virgilio  Malvezzi,  and  now  not  traduced  as 
one  hath  done,  butt  faithfully  translated  into  English. 

Vaughan's  *  Learned  Friend'  was  Thomas  Powell  of  Can- 
treff.  His  translation  of  Malvezzi,  The  Christian  Politic  Fa- 
vourite, is  now  lost,  but  his  fine  quality  as  translator  is  seen  in 
that  rare  book,  Stoa  Triumphans  (1651). 

The  *PoHticke  Christian  Favourite'  was  Count  Gasparo  de 
Guzman  Olivarez,  prime  minister  of  Spain  from  1621  to  1643. 

348 

1647.  II  Davide  Perseguitato:  David  Persecuted:  .  .  .  Done 
into  English  by  R.[oheTi]  Ashley. 

London.  1647.  12mo.  British  Museum.  Also,  1650.  12mo 
("with  a  picture  of  King  Ch.  1.  playing  on  a  harp,  resembling 
K.  David,  purposely  to  make  all  the  impression  sell  off,  such 
are  the  usual  shifts  which  booksellers  use."  Anthony  a  Wood). 
British  Museum. 

A  translation  of  the  Marquese  Virgilio  Malvezzi's 

Davide  Perseguitato. 

Venetia.  1634.  12mo.  British  Museum. 


430  ELIZABETHAN  TRANSLATIONS 


349 

1647.  The  Chief e  Events  of  the  Monarchie  of  Spainey  in  the 
yeare  1639.  .  .  .  Translated  out  ofth*  Italian  copy  by  R.  Gentilis. 

London.  1647.  12mo.  British  Museum. 

A  translation  of  the  Marquese  Virgilio  Malvezzi's 

I  successi  principali  delta  Monarchia  di  Spagna  nelV  anno 
1639. 

Anvers.  1641.  16mo. 

A  Spanish  translation  is  dated  a  year  earlier,  — 
Successos  principales  de  la  Monarquia  d^  Espana  en  el  ano 
de  mil  i  seis  cientos  i  treinta  i  nueve,  etc. 
Madrid.  1640.  4to.  British  Museum. 

350 

1647.  The  Historic  of  the  Civil  Warres  of  France ,  written  in 
Italian  by  H.  C.  Davila.  Translated  out  of  the  originall.  [By 
William  Aylesbury.] 

London.  W.  Lee.  1647.  Folio. 

Dedicated  to  Charles  I,  who  read  the  manuscript  before  the 
book  was  printed. 

London.  1678.  Folio.  With  a  preface  by  Sir  Charles  Cot- 
terell,  master  of  the  ceremonies,  in  which  he  claimed  for  him- 
self the  execution  of  the  greater  part  of  the  original  version. 
Sir  Charles  Cotterell  did  assist  Aylesbury  in  the  transla- 
tion. 

The  History  of  the  Civil  Wars  of  France  ...  a  new  translation 
from  the  Italian  of  Davila  [anecdotes  relating  to  the  Author, 
chiefly  from  the  ItaHan  of  A.  Zeno].  [By  EUis  Farneworth.] 

London.  D.  Browne.  1758.  4to.  2  vols. 

Two  translations.,  more  than  a  hundred  years  apart,  of 

Historia  delle  Guerre  civili  de  Francia^  de  Henrico  Catherino 
Davila,  nella  quale  si  contengono  le  operazione  de  quattro  re 
Francesco  II. ,  Carlo  IX.,  Henrico  III.,  Henrico  IV.,  cognomi- 
nato  il  Grande. 

Venice.  Tommaso  Baglioni.  1630.  4to. 


HISTORY  AND  POLITICS  431 


L  ^Histoire  des  Guerres  civiles  de  France. 
London.  1755.  4to.  2  vols.  Amsterdam  (Paris).  1757.  4to. 
3  vols. 

351 

1648.  A  Venice  Looking-Glass ;  or,  a  Letter  written  very  lately 
from  Lond,  to  Card.  Barbarini  at  Rome  by  a  Venetian  Clarissimo 
touching  the  present  Distempers  in  England.  [Translated  from 
the  Italian  by  James  Howell.] 

1648.  4to.  Pp.  24. 

To  the  Lady  E.,  Countess  Dowager  of  Sunderland. 
Madam, 

I  am  bold  to  send  your  La.  to  the  Country  a  new  Venice 
Looking-glass,  wherein  you  may  behold  that  admir'd  Maiden- 
City  in  her  true  complexion,  together  with  her  Government 
and  Policy,  for  she  is  famous  all  the  world  over.  Therefore, 
if  at  your  hours  of  leisure  you  please  to  cast  your  eyes  upon  this 
Glass,  I  doubt  not  but  it  will  afford  you  some  objects  of  enter- 
tainment. 

Moreover,  your  Ladyship  may  discern  thro'  this  Glass  the 
motions,  and  the  very  heart  of  the  Author,  how  he  continueth 
still,  and  resolves  so  to  do,  in  what  condition  soever  he  be, 
Madam  — 

Your  most  constant  and  dutiful  Servant, 

J.  H. 

The  Countess  Dowager  of  Sunderland  in  1648  was  Dorothy 
Sidney,  widow  of  Henry  Spencer,  1st  Earl  of  Sunderland, 
killed  in  the  battle  of  Newbury,  in  1643.  Dorothy  Sidney  was 
Edmund  Waller's  "  Sacharissa,"  and  the  inspiration  of  his 
beautiful  lyrics,  Go,  lovely  Rose,  and  On  a  Girdle. 

After  nine  years  of  widowhood,  the  Countess  of  Sunderland 
married  an  old  suitor.  Sir  Robert  Smythe.  Dorothy  Osborne 
wrote  to  Sir  William  Temple,  — 

"I  have  sent  into  Italy  for  seals,  ...  'tis  an  humour  which 


432  ELIZABETHAN  TRANSLATIONS 


your  old  acquaintance  Mr  Smith  and  his  lady  have  brought 
up;  they  say  she  wears  twenty  strung  upon  a  ribbon,  like  the 
nuts  boys  play  withal."  {Letters  from  Dorothy  Osborne  to  Sir 
William  Temple,  1 652-165 Ji^.  Letter  7.  Edited  by  Edward 
Abbott  Parry,  1888.) 

352 

1650.  Considerations  upon  the  lives  of  Alcibiades  and  Cori- 
alamis  [sic].  .  .  .  Englished  by  R.  Gentilis. 

London.  1650.  12mo.  British  Museum. 

Dedicated  to  a  daughter  of  Thomas,  Earl  of  Strafford,  "as 
a  small  token  of  the  manifold  obligements  whereto  I  am  ever- 
lastingly tied  to  you." 

Translated  from  the  Marquese  Malvezzi's 

Consider ationiy  con  occasione  d*  alcuni  luoghi,  deUa  vite 
d'  Alcibiade  e  di  Coriolano.  2  parts. 

Bologna.  1648.  4to.  British  Museum  (2  copies). 

"Like  Shakspere's  of  respect  is  Robert  Gentilis's  respectful. 
Alcibiades  .  .  .  strives  to  become  great,  and  make  himself 
respectfully  by  contending  with  great  ones."  {Considerations, 
etc.,  p.  64.  F.  H.  in  The  Nation,  July  4,  1895.) 

353 

1650-52.  An  exact  Historic  of  the  late  Revolutions  in  Naples; 
And  of  their  Monstrous  Successes,  not  to  be  paralleVd  by  any 
Antient  or  Modern  History.  Published  by  the  Lord  Alexander 
GiraJJi  in  Italian;  And  {for  the  rarenesse  of  the  subject)  Rendred 
to  English,  by  J.  H.  Esq^. 

London.  Printed  for  R.  Lowndes.  1650. 

The  Second  Part  of  Massaniello,  His  Body  taken  out  of  the 
Town-Ditch,  and  solemnly  Buried,  With  Epitaphs  upon  him.  A 
Continuation  of  the  Tumult;  The  D.  of  Guise  made  General- 
issimo; Taken  Prisoner  by  young  Don  John  of  Austria.  The 
End  of  the  Commotions.  By  J,  H.  Esquire. 

Truth  never  look'd  so  like  a  Lie 
As  in  this  modern  Historie. 


HISTORY  AND  POLITICS  433 


London.  Printed  by  A.  M.  for  Abel  Roper  at  the  sign  of  the 
Sun,  and  T.  Dring  at  the  George  near  S*-  Dunstans  Church 
in  Fleetstreet.  mdclii.  The  two  Parts  together.  24mo.  Pp. 
345.  With  a  colored  frontispiece  subscribed,  Effigie  &  new 
Ritratto  di  Masianello,  comandante,  in  Napoli.  Peabody  In- 
stitutey  Baltimore.  British  Museum  (2  copies).  1664-63.  8vo. 
British  Museum. 

Dedicated  by  the  translator,  James  Howell,  "To  the  right 
Worshipfull,  the  Governour,  the  Deputy,  and  the  rest  of  the 
worthy  Company,  trading  into  the  Levant." 

The  work  is  a  translation  of  Alessandro  Giraffi's 

Le  rivolutioni  di  Napoli  .  .  .  con  pienissimo  ragguaglio  d'  ogni 
successo,  e  trattati  secretin  e  palesi.  {Primo  libro  —  Manifesto 
del .  .  .  Popolo  di  Napoli.) 

Venetia.  1647.  8vo.  British  Museum.  (Eight  editions  be- 
tween 1647  and  1844  in  the  British  Museum.) 

Masaniello  (Tommaso  Aniello)  was  a  young  fisherman  of 
Amalfi  who  led  a  popular  uprising  in  Naples  during  the  sum- 
mer of  1647.  The  cause  of  the  civil  revolution  was  the  heavy 
taxation  of  the  Spanish  Government,  then  in  possession  of 
Naples,  and  particularly  the  duty  on  fruits,  both  green  and 
dry.  The  first  riot,  incited  by  Masaniello,  broke  out  on  Sun- 
day, July  7, 1647,  and  lasted  ten  days;  on  the  third  day  Masa- 
niello was  made  Captain-General,  or  Absolute  Patron,  of  the 
city,  and  as  Howell  translates,  "from  an  humble,  judicious, 
and  zelous  spirit  which  raign'd  in  him;  he  became  proud,  a 
Fool  and  a  Tyrant."  After  a  rule  of  but  eight  days  and  eight 
hours,  he  was  assassinated,  July  16,  1647. 

The  Second  Part  of  Massaniello  describes  the  continua- 
tion of  the  civil  war,  the  intervention  of  the  French  com- 
manded by  the  Duke  of  Guise,  and  the  subjugation  of  the 
city  by  Spain,  in  1648,  under  the  leadership  of  Don  John  of 
Austria. 

There  is  a  tragedy  founded  on  the  revolution  in  Naples,  said 
to  have  been  written  by  a  gentleman  who  was  an  eye-witness 
of  Masaniello  *s  rebellion.  It  is  entitled,  The  Rebellion  of  Naples, 


434  ELIZABETHAN  TRANSLATIONS 


or  The  Tragedy  of  Massinello  (1649.  8vo).  The  scene  is  Naples, 
and  "the  story  may  be  seen  more  at  large  in  Giraffi's  'History 
of  Naples:  " 

354 

1650.  The  History  of  the  rites,  customes  and  manner  of  life 
of  the  present  Jews  throughout  the  world.  Written  in  Italian  by 
Leo  Modena.  .  .  .  Translated  into  English  by  E.[dmund]  Chil- 
mead.  Pp.  249. 

J.  L.  for  J.  Martin  and  J.  Ridley.  London.  1650.  8vo. 

British  Museum  (2  copies). 

Translated  from  Leo  Modena's 

Historia  degli  Riti  Hebraici,  Dove  si  ha  breve  e  total  relatione 
di  tutta  la  vita,  costumi,  riti  et  osservanze,  degV  Hebrei  di  questi 
tempi.  [Edited  by  the  French  mystic,  Jacques  Gaffarel.] 

Parigi.  1637.  12mo.  British  Museum. 

355 

1650.  De  Bello  Belgico.  The  History  of  the  Low-Countrey 
Warres.  Written  in  Latin  by  F.  S.  [Famiano  Strada];  in  Eng- 
lish by  Sir  R.  Stapylton,  Kt.  Illustrated  with  divers  figures. 
[A  translation  of  Decade  i  only.] 

London.  1650.  Folio.  1667.  Folio.  British  Museum. 
A  translation  of 

F.  S.  de  Bello  Belgico  decas  prima  (secunda)  [1555-90]. 
£  parts. 

Romae.  1632-47.  Folio.  British  Museum, 

356 

1651.  Stoa  Triumphans:  or,  two  sober  paradoxes,  viz.  1.  The 
Praise  of  Banishment.  2.  The  Dispraise  of  Honors.  Argued  in 
two  letters  of  ye  noble  and  learned  Marquesse  Virgilio  Malvezzi 
to  the  illustrious  Signior  John  Vincent  Imperiale.  Now  trans- 
lated out  of  Italian,  with  some  annotations  annexed. 

London.  1651.  12mo.  British  Museum. 

A  translation  of  Due  Letter e  di  Consolatione  (Bologna,  1635), 


HISTORY  AND  POLITICS  435 


by  the  Genoese  poet,  Giovanni  Vincenzo  Imperiale,  son  of 
Giovanni  Imperiale,  doge  of  Genoa  in  1617.  The  translator, 
a  friend  of  Henry  Vaughan  the  Silurist,  was  Dr.  Thomas 
Powell  of  Cantreff,  Bishop-elect  of  Bristol,  at  his  death,  De- 
cember 31,  1660.  In  his  preface,  Powell  praises  Malvezzi  as 
having  "written  by  the  lamp  of  Epictetus,"  as  "breathing  that 
virilem  sapientiam  Stoicorum  which  Seneca  doth  so  much  ex- 
toll,  that  masculine  and  Heroick  bravery  of  the  Stoicks,  where- 
by they  did  put  off  man,  and  tread  above  the  Stage  of  humane 
chances." 

357 

1652.  Historicall  Relations  of  the  United  Provinces  and  of 
FlanderSy  written  originally  in  Italian  by  Cardinall  Bentivoglio, 
and  now  rendered  into  English  by  Henry  [Carey]  Earle  of  Mon- 
mouth. 

London.  1652.  Folio.  British  Museum.  Prefixed  is  a  por- 
trait, by  Faithorne,  of  the  Earl  of  Monmouth.  Also,  1654. 
Folio.  British  Museum.  1678.  Folio.  British  Museum. 

The  work  is  a  translation  of  Bentivoglio's 

Relatione  fatte  dalV  111^°'  Cardinal  Bentivoglio  in  tempo  delle 
sue  nuntiature  di  Fiandra  e  di  Francia.  Date  in  luce  da  ^^.[ricio] 
Puteano.  2  vols. 

N.  Pantino.  Colonia.  1629.  Folio.  British  Museum, 

Guido  Bentivoglio  was  sent  as  papal  nuncio  to  Flanders  by 
Pope  Paul  V,  in  1607;  he  remained  there  nine  years,  until  the 
beginning  of  1617,  when  he  was  transferred  to  France.  He  was 
so  acceptable  to  France  that  when  he  was  made  a  cardinal, 
January  11,  1621,  Louis  XIII  chose  him  to  protect  French 
interests  in  Rome.  He  died  in  conclave,  in  1644,  just  as  he  was 
about  to  be  elected  pope,  done  to  death,  G.  V.  Rossi  (Nicius 
Erythraeus)  asserts,  by  the  snoring  of  the  cardinal  in  the  next 
cell,  which  kept  him  awake  for  eleven  successive  nights. 


436  ELIZABETHAN  TRANSLATIONS 


To  the  Earle  of  Monmouth.  Upon  his  translation 

of  Bentivoglio 

Those  who  could  rule  the  Ancient  World  with  ease. 
Could  strictly  governe  all,  yet  none  displease. 
Were  such  as  cherisht  Learning;  not  because 
It  wrapt  in  rev'renc'd  Mistery  the  Lawes, 
Nor  that  it  did  the  Nobles  civillize. 
But  rather  that  it  made  the  People  wise; 
Who  found  by  reading  Story  (where  we  see 
What  the  most  knowing  were,  or  we  should  be) 
That  Peace  breeds  happiness,  and  only  they 
Breed  Peace,  who  wisely  any  Pow'r  obey. 
Books  much  contribute  to  the  Publick  good. 
When  by  the  People  eas'ly  understood; 
But  those  who  dress  them  in  a  Forraigne  Tongue 
Bring  Meate  in  cover' d  Plate  to  make  men  long. 
Whilst  those  who  Foraigne  Learning  well  translate 
Serve  plaine  Meate  up,  and  in  uncover'd  Plate. 
This  you  have  done  my  Lord !  which  only  showes 
How  free  your  Mind  in  publick  Channels  flowes. 
But  if  that  good  to  which  some  men  are  borne 
Doe  less  then  good  acquir'd  our  Names  adorne 
The  ceaseless  nature  of  your  kindness  then, 
(Still  ready  to  informe  unlanguag'd  Men) 
Deserves  less  praise,  if  rightly  understood. 
Then  does  your  judgment  how  to  do  Men  good: 
Which  none  can  value  at  too  high  a  rate. 
Judging  the  choice  of  Authors  you  translate. 
The  Works  of  S*"  William  Davenant  KK  (London.  1673.  Folio,  p.  316.) 

358 

1653.  The  Scarlet  Gown,  Or  the  History  of  all  the  present 
Cardinals  of  Rome,  Wherein  is  set  forth  the  Life,  Birth,  Interest, 
Possibility,  rich  offices.  Dignities,  and  charges  of  every  Cardinal 
now  living.  .  .  .  Written  originally  in  Italian  [by  N.  N.]  and 
translated  into  English  by  flr.[enry]  C[ogan]  Gent. 

London.  Printed  for  Humphrey  Moseley,  etc.  1653.  8vo. 
British  Museum  (3  copies).  Also,  1654:  1660.  8vo.  British 
Museum. 


HISTORY  AND  POLITICS  4S7 


Dedicated  to  John  Manners,  8th  Earl  of  Rutland. 
I  find  in  the  British  Museum  Catalogy£,  — 

359 

The  Court  of  Rome.  .  .  .  Translated  out  of  Italian  into  Eng- 
lish by  fl'.[enry]  C[ogan]. 
1654.  8vo.  British  Museum. 

Possibly  this  is  a  variant  title  for  the  1654  edition  of  The 
Scarlet  Gmcn. 

360 

1654.  The  Compleat  History  of  the  Warrs  of  Flanders,  written 
in  Italian.  .  .  .  Englished  by  .  .  .  Henry  [Carey]  Earl  of  Mon- 
mouth. Illustrated  with  figures  of  the  chief  personages  mentioned 
in  this  history,  with  a  map  of  the  17  provinces  and  above  20 
figures. 

London.  1654.  Folio.  With  a  portrait  of  the  Earl  of  Mon- 
mouth. British  Museum.  Also,  1678.  Folio.  British  Museum. 

A  translation  of  Cardinal  Guido  Bentivoglio's 

Delia  Guerra  di  Fiandray  descritta  dal  Cardinal  Bentivoglio 
parte  prima  {terzd). 

Colonia.  1632-39.  4to.  3  parts.  British  Museum. 

361 

1654.  A  discourse  touching  the  Spanish  Monarchy;  wherein 
we  have  a  political  glasse,  representing  each  particular  country 
.  .  .  and  empire  of  the  world,  with  wayes  of  government.  .  .  . 
Newly  translated  into  English  [by  Edmund  Chilmead]  accord- 
ing to  the  third  edition  .  .  .  in  Latin. 

E.  Alsop.  London.  1654.  4to.  Pp.  viii  +  232.  British  Mu- 
seum. 

A  translation  of  Tommaso  Campanella's 

Th.  C.  de  Monarchia  Hispanica  discursus. 

L.  Elzevir.  Amstelodami.  1640.  12mo.  British  Museum, 

This  work  was  also  translated  into  Italian  and  German. 


438  ELIZABETHAN  TRANSLATIONS 


362 

1654.  Parthenopoeia  or  the  history  of  the  Most  Noble  and  Re- 
nowned Kingdom  of  Naples  With  the  Dominions  therunto 
annexed  and  the  Lives  of  all  their  Kings.  The  First  Part  by  that 
Famous  Antiquary  Scipio  MazzeUa  made  English  by  Mr. 
Samson  Lennard  Herald  of  Armes.  The  Second  Part  CompiVd 
by  James  Howell  Esq.;  who  broches  some  supplements  to  the 
First  party  drawn  on  the  Thread  of  the  Story  to  these  present  Times, 

London.  Printed  for  Humphrey  Moseley.  .  .  .  1654.  Sm. 
folio.  Pp.  xviii  +  191  +  62  +  ii.  British  Museum. 

A  translation  of  Scipione  Mazzella's 

Descrittione  del  regno  di  Napoli.  .  .  .  Con  la  nota  de*  fuochi, 
delle  impositione  .  .  .  e  delV  entrate,  die  n*ha  il  Re.  E  vi  si  fa 
mentione  de  i  Rhy  che  I '  han  dominato,  .  .  .  de^  Pontifici  e  de* 
Cardinale,  che  si  nacquero,  e  .  ,  .  delle  famiglie  nobili,  che  vi 
sono,  etc. 

G.  B.  Capelli.  Napoli.  [1586.]  4to.  Pp.  710.  British  Mu- 
seum. 

363 

1656.  I  Ragguagli  di  Parnaso:  or  Advertisements  from  Par^ 
nassuSy  in  two  centuries,  with  the  politick  Touchstone.  Written 
originally  in  Italian  .  .  .  and  now  put  into  English,  by  the  Right 
Honorable  Henry  [Carey]  Earl  of  Monmouth. 

London.  1656.  Folio.  With  portrait  of  the  Earl  of  Mon- 
mouth, by  Faithorne.  British  Museum.  Also,  1669  and  1674, 
folio,  British  Museum,  and  1706,  folio.  "Revis'd  and  Cor- 
rected by  Mr.  Hughes"  (John  Hughes,  the  poet).  Pp.  xvi  + 
454.  British  Museum. 

This  is  a  translation  of  Trajano  Boccalini's 

De*  Ragguagli  di  Parnasso  centuria  prima. 

Venice.  1612.  4to.  [Milano.  1613.  8vo.  British  Museum.] 
Centuria  seconda.  Venice,  1613.  4to.  [Venetia.  1616.  8vo. 
British  Museum.] 

The  Politick  Touchstone  is  a  translation  of  Boccalini's  Pietra 


HISTORY  AND  POLITICS  439 


del  Paragons  Politico,  which  had  ah-eady  been  translated  by- 
Sir  William  Vaughan,  under  the  title,  The  New-Found  Poll" 
tick  (1626). 

The  title  of  a  later,  and  different,  translation  of  the  Rag- 

guagli  reads,  — 

Advertisements  from  Parnassus  .  .  .  newly  done  into  English, 
and  adapted  to  the  present  times.  Together  with  the  author*s 
Politick  Touchstone;  his  Secretaria  di  Apollo;  and  an  account  of 
his  life.  By  N.  N.  3  vols. 

London.  1704.  8vo.  British  Museum. 

The  Ragguagli  di  Parnasso  represents  Apollo,  seated  upon 
Parnassus,  hearing  the  complaints  of  all  who  come  before  him, 
and  distributing  justice  according  to  absolute  desert.  Bocca- 
lini  was  a  keen  and  daring  wit,  and  his  book,  which  is  a  sort  of 
Dunciad,  is  full  of  lively  satire  on  the  lives  and  writings  of 
famous  Italians.  His  touch  is  light,  with  a  fantastic  turn,  and 
some  of  his  hits  are  extremely  happy.  Apropos  of  Guicciar- 
dini's  long-windedness,  he  relates  this  pleasantry,  — 

A  citizen  of  Lacedaemon  having  said  in  three  words  what 
could  be  said  in  two  (a  capital  crime  in  Sparta),  was  con- 
demned—  to  read  Guicciardini's  history  of  the  Pisan  war. 
He  read  the  first  pages  in  a  mortal  sweat;  then  utterly  unable 
to  go  on  with  it,  he  ran  and  threw  himself  at  the  feet  of  his 
judges,  beseeching  them  to  imprison  him  for  life,  to  send  him 
to  the  galleys,  to  burn  him  alive,  anything  rather  than  pro- 
long his  intolerable  weariness  in  reading  Guicciardini. 

Dr.  Richard  Garnett  thinks  that  the  Advertisements  from 
Parnassus  probably  exerted  considerable  influence  upon  Que- 
vedo.  Swift,  and  Addison. 

364 

1656.  The  Siege  of  Antwerp  written  in  Latin.  .  .  .  Englished 
[from  the  6th  and  part  of  the  7th  book  of  Famiano  Strada's 
De  Bello  Belgico  decas  primo  (secunda)]  by  Thomas  Lancaster. 
Gent. 

London.  [May  29,  1656.]  8vo.  British  Museum. 


440  ELIZABETHAN  TRANSLATIONS 


The  siege  of  Antwerp  took  place  in  1585.  Alessandro 
Farnese,  Duke  of  Parma  and  Piacenza,  captured  the  city  after 
a  brave  resistance  and  sent  all  its  Protestant  citizens  into 
exile. 

365 

1657.  Political  Discourses;  written  in  Italian,  and  trans- 
lated into  English  by  Henry  [Carey]  Earl  of  Monmouth. 

London.  1657.  Folio. 

A  translation  of  Paolo  Paruta's 

Discorsi  politici  ne  i  quali  si  considerano  diversi  fatti  illustri, 
e  memoraholi  di  Principiy  e  di  Repuhliche  antiche  e  moderne, 
[divisi  in  due  lihri:]  Aggiuntovi  nel  fine  un  suo  soliloquio,  nel 
quale  V  autore  fa  un  breve  essame  di  tutto  il  cor  so  delta  sua 
vita. 

Venetia.  1599.  4to.  2  parts.  British  Museum  (2  copies). 

The  Discorsi  is  a  series  of  twenty-five  essays  on  Athens, 
Rome,  Venice,  and  contemporary  politics,  written  with  a 
broad  and  just  spirit,  and  in  an  admirable  style. 

366 

1658.  The  History  of  Venice  .  .  .  written  originally  in  Italian 
.  .  .  likeunse  the  wars  of  Cyprus  .  .  .  wherein  the  famous  sieges 
of  Nicossia  and  Famagosta,  and  battle  of  Lepanto  are  contained. 
Made  English  by  Henry  Carey ,  Earl  of  Monmouth. 

London.  1658.  Folio.  2  parts.  British  Museum. 

A  translation  of  Paolo  Paruta's  Historia  Vinetiana.  [Edited 
by  G.  Paruta  and  *Jratelli.''] 

Venice.  1605.  4to.  Mparts.  British  Museum  (2  copies). 

Paruta's  Storia  Veneziana  was  begun  in  Latin  with  the  de- 
sign of  following  Cardinal  Bembo's  history  of  Venice;  in  three 
books,  it  covers  the  period  from  1513  to  1552,  relating  the  war 
with  Cyprus.  The  style  is  simple,  clear,  and  elegant.  Paruta 
was  not  only  an  historian,  but  also  an  able  statesman  and  di- 
plomatist. He  became  Procurator  of  the  Venetian  Republic, 
and  was  only  prevented  by  his  death  from  becoming  doge. 


HISTORY  AND  POLITICS  441 


367 

[1660?]  Thomas  Campanellay  an  Italian  friar  and  second 
Machiavel,  his  Advice  to  the  King  of  Spain  for  attaining  the 
Universal  Monarchy  of  the  World:  particularly  concerning 
Englandy  Scotland  and  Ireland,  how  to  raise  Division  between 
King  and  Parliament,  to  alter  the  Government  from  a  King- 
dome  to  a  Commonwealth,  thereby  embroiling  England  in  Civil 
War.  Translated  into  English  by  Ed.  Chilmead  .  .  .  with  an 
admonitorie  Preface  by  William  Prynne. 

P.  Stephens.  London.  [1660.^]  4to.  Pp.  xiv  +  232.  Brit- 
ish Museum. 

Tommaso  Campanella  wrote  — 

De  Monarchia  Messiae,  compendium  in  quo,  per  philosophiam 
divinam  et  humanarn  demonstrantur  jura  summi  pontijicis  super 
universum  orbem,  etc. 

Aesi.  1633.  4to. 

In  this  work  Campanella,  a  Dominican  monk,  revives 
Dante*s  political  dream  of  a  universal  Church  and  a  universal 
Empire,  substituting  Spain  for  Germany. 

368 

1663.  History  of  the  Wars  of  Italy,  from  the  year  1613  to  16U, 
in  eighteen  books.  Rendred  into  English  by  Henry  [Carey]  Earl 
of  Monmouth. 

London.  1663.  Folio.  With  Faithorne's  portrait  of  the 
Earl  of  Monmouth.  British  Museum. 

A  translation  of  Pietro  Giovanni  Capriata's 

I  due  primi  libri  delV  Istoria  di  P.  G.  C.  .  .  .  sopra  i  movi- 
menti  d '  arme  successi  in  Italia  dalV  anno  .  .  .  MDCXIII  fino 
al  MDCXVIII.  Aggiuntivi  i  Sommarij  de  gli  altri  quattro  libri 
che  mancano  al  compimento  delV  opera. 

Genova.  1625.  4to.  British  Museum. 

DelV  historia  di  P.  G.  C.  libri  dodici,  etc.  {Parte  seconda  .  .  . 
1634^  fino  al  16^.  —  Parte  terza  [edited  by  G.  B.  Capriata] 
.  .  .  16U  fino  al  1650).  3  parts. 

Genova.  1638-63,  4to.  British  Museum  (2  copies). 


442  ELIZABETHAN  TRANSLATIONS 


369 

1664.  A  new  Relation  of  Romey  as  to  the  government  of  the 
dtyy  the  noble  Families  thereof,  etc.  Englished  [out  of  Italian]  by 
G.  T.  [Giovanni  Torriano]. 

London.  1664.  8vo. 

370 

Rome  exactly  described  as  to  its  present  state  under  Pope 
Alexander  VII y  out  of  Italian  by  G.  T.  [Giovanni  Torriano]. 
London.  1664.  8vo. 

371 

1676.  The  History  of  France,  written  in  Italian.  .  .  .  The 
translation  whereof  being  begun  by  Henry  [Carey],  late  Earl  of 
Monmouth,  was  finished  by  William  Brent,  Esq. 

London.  1676.  Folio.  British  Museum. 

A  translation  from  the  Italian  historian,  Galeazzo  Gualdo- 
Priorato,  Count  of  Comazzo,  — 

Historia  delta  Rivoluzioni  di  Francia  sotto  il  regno  di  Luigi 
XIV,  dair  anno  16^8  sin  alV  anno  165 Jf,  con  la  continuazione 
delta  guerra  tra  le  due  corone. 

Venice.  1655.  Paris.  1656.  Folio. 

Aggiunta  d'  altri  accidenti  occorsi  in  Europa  sino  alia  pace 
de*  Pirenei. 

Cologne.  1670.  4to.  2  vols. 

The  Earl  of  Monmouth  was  engaged  upon  the  translation 
of  this  work  at  the  time  of  his  death,  in  1661. 


XI 

MANNERS  AND  MORALS 


XI 


MANNERS  AND  MORALS 
372 

1561.  The  Courtyer  of  Count  Baldessar  Castilio  diuided  into 
foure  bookes.  Very  necessary  and  profitable  for  yonge  Gentilmen 
and  Gentilwomen  abiding  in  Court,  Palaice  or  Place,  done  into 
Englyshe  by  Thomas  Hoby. 

Imprinted  at  London,  by  wyllyam  Seres  at  the  signe  of  the 
Hedghogge.  1561.  Woodcut  title.  [Colophon.]  Imprinted 
at  London,  by  Wyllyam  Seres,  Dwelling  at  the  west  end  of 
Paules,  at  the  Signe  of  the  hedghog.  4to.  Black  letter.  British 
Museum  (2  copies).  1577.  4to.  Black  letter.  British  Museum 
(2  copies).  1588.  8vo.  Pp.  616.  Printed  by  John  Wolfe,  in 
three  columns,  Italian,  in  Italics,  Gabriel  Chappuys's  French 
translation,  in  Roman,  and  English,  in  black  letter.  British 
Museum.  1603.  4to.  (With  a  spurious  autograph  of  Shak- 
spere,  forged  by  S.  W.  H.  Ireland.)  British  Museum.  1900. 
8vo.  Edited  by  Sir  Walter  Raleigh.  Tudor  Translations, 
XXIII.  Essex  House  Press.  1900.  8vo.  Edited  by  Janet  E. 
Ashbee.  Woodcut  ornaments  by  C.  R.  Ashbee. 

The  Courtyer  is  a  translation  of 

II  libro  del  Cortegiano  del  Conte  B.  C.  Nelle  case  d '  Aldo 
Romano  &  d  *  Andrea  d '  Asola. 

Venetia.  1528.  Folio.  British  Museum. 

II  Cortegiano  is  dedicated  by  the  author,  Count  Baldessare 
Castiglione,  to  Don  Michele  de  Silva,  Bishop  of  Viseo;  by  the 
English  translator.  Sir  Thomas  Hoby,  "To  Right  Honourable 
the  Lord  Henry  Hastinges,  sonne  and  heire  apparent  to  the 
noble  Earle  of  Huntington." 

London.  1724.  8vo.  Second  English  translation,  by  Robert 
Samber.  The  same,  London,  1729,  8vo. 


446  ELIZABETHAN  TRANSLATIONS 


London.  1727.  4to.  Third  English  translation,  by  A.  P. 
Castiglione.  (With  a  life  of  Count  Baldessare  Castiglione.) 
1737.  4to.  1742.  4to.  Peabody  Institute  Library,  Baltimore. 

The  Book  of  The  Courtier, 

New  York.  1901.  4to.  Edition  de  luxe.  Fourth  English 
translation,  by  Leonard  Eckstein  Opdycke.  (With  71  portraits 
and  15  autographs.)  Signed  copy.  No  110,  owned  by  the 
author. 

Bartholomew  Gierke's  Latin  translation  of  II  Cortegiano 
was  published  in  London,  in  1571  (8vo),  and  reprinted,  in 
London,  in  1577,  1585,  1593,  1603,  and  1612;  in  Cambridge, 
revised  by  Samuel  Drake,  in  1713. 

In  the  summer  of  1901,  my  friend,  Mr.  Leonard  E,  Opdycke, 
and  I  met  in  New  York,  both  reading  proof  on  II  Cortegiano, 
he  on  his  translation  and  I  on  an  article  showing  Shakspere's 
indebtedness  to  The  Courtyer  in  Much  Ado  About  Nothing. 
Up  to  that  time  I  had  recorded  some  seventy  editions  of  Cas- 
tiglione's  famous  book.  Mr.  Opdycke  had  just  returned  from 
Europe,  where  he  had  collected  a  bibliography  somewhat 
larger  than  mine.  I  gave  him  my  list  of  editions,  and  suggested 
that  he  publish  as  complete  a  bibliography  as  we  could  together 
make.  He  accepted  my  suggestion,  and  the  bibliography  of 
II  Cortegiano  in  the  fourth  English  translation  records  one 
hundred  and  forty-three  diflFerent  editions,  in  Italian,  French, 
Spanish,  Latin,  English,  and  German.  In  English,  there  have 
been  four  translations  and  twelve  imprints  —  six  of  the  Eliza- 
beth translation,  two  of  the  second  translation,  and  three  of 
the  third.  Counting  in  the  seven  English  imprints  of  Gierke's 
Latin  translation,  //  Cortegiano  has  been  printed  nineteen  times 
for  English  readers. 

II  Cortegiano  is  far  and  away  the  most  popular  book  given 
to  the  world  by  the  Italians  of  the  Renaissance,  And  the  two 
great  books  on  manners,  II  Cortegiano,  with  one  hundred  and 
forty-three  editions,  and  Galateo,  with  fifty-six  editions,  make 
clear  for  all  time  the  permanent  influence  of  the  Italian  Re- 
naissance upon  the  social  instincts  of  men  and  women. 


MANNERS  AND  MORALS  447 


John  Marston,  in  The  Scourge  of  Villanie,  Three  Bookes  of 
Satyres  (1598,  i,  27-50.  Ed.  Bullen,  iii,  264),  describes  the 
ceremonious  courtier  as  "the  absolute  CastUio.*'  So,  in  The 
Malcontent  (printed  1604,  i,  1),  Malevole  says  to  BiHoso,  — 
"Adieu,  my  treu  court-friend:  farewell,  my  dear  CastUio." 
A  courtier  in  Marston's  Antonio  and  Mellida  (printed  1602) 
is  named  Castilio  Balthasar. 

Edward  Guilpin,  in  his  Skialetheia,  or  A  Shadow  of  Truth  in 
certain  Epigrams  and  Satyres  (1598),  uses  the  Christian  name 
of  Castiglione  in  a  like  sense,  — 

Come  to  the  court  and  Balthaser  affords 
Fountains  of  holy  and  rose-water  words. 

The  reading  of  "the  Italian  Courtier''  is  referred  to  in  Dek- 
ker  and  Webster's  Westward  Hoe  (i,  1). 

Ben  Jonson,  offering  advice  upon  style,  in  Timber,  or  Dis- 
coveries made  upon  Men  and  Matter  (1641),  says  that  life  is 
added  to  writing  by  resort  to  epigrams,  witticisms,  repartee, 
"  such  as  are  in  The  Courtier,  and  the  second  book  of  Cicero's 
De  Oratorer 

The  story  of  the  penurious  farmer,  in  Book  Second,  is  told 
by  Henry  Peacham,  in  Truth  of  our  Times  Revealed  (1638)  and 
by  John  Taylor,  the  Water-Poet,  in  Part  of  this  Summer's 
Travels,  or  News  from  Hell,  Hull,  and  Hallifax  (1639) ;  it  is  al- 
luded to  by  Nash  and  by  Joseph  Hall,  in  Virgidemiae  (iv,  6), 
and  is  put  to  dramatic  use  by  Ben  Jonson,  in  Every  Man  out 
of  His  Humour  (iii,  2).  Professor  Walter  Raleigh  {Introduc- 
tion to  The  Book  of  The  Courtier,  1900)  thinks  the  porter  in 
Macbeth  (ii,  3)  was  thinking  of  this  story  when  he  said,  — 

Here's  a  farmer  that  hanged  himself  on  the  expectation  of  plenty. 
Come  in  time. 

Coleridge  thought  the  porter's  dialogue  with  imaginary 
persons  at  the  door  could  not  have  been  written  by  Shakspere 
{Lectures  and  Notes  on  Shakspere.  Ed.  T.  Ashe,  p.  368).  Pro- 
fessor Raleigh  also  suggests  that  Polonius's  advice  to  Laertes 
{Hamlet,  i,  3)  bears  the  earmarks  of  The  Courtyer,  especially 
in  the  matter  of  dress. 


448  ELIZABETHAN  TRANSLATIONS 


•  "To  join  learning  with  cumlie  exercises,  Conte  Baldesar 
Castiglione  in  his  booke,  Cortegiano,  doth  trimlie  teache, 
which  booke,  advisedhe  read,  and  dihgenthe  folowed,  but  one 
year  at  home  in  England,  would  do  a  yong  jentleman  more 
good,  I  wisse,  than  three  yeares  travell  abrode  spent  in  Italic. 
And  I  mervell  this  booke  is  no  more  read  in  the  Court,  than  it 
is,  seying  it  is  so  well  translated  into  English  by  a  worthie 
Jentleman  Syr  Th.  Hobbie,  was  many  wayes  furnished  with 
learnyng,  and  very  expert  in  knowledge  of  divers  tonges." 
(Roger  Ascham,  The  Scholemaster,  Bk.  1,  p.  61.) 

"The  best  book  that  ever  was  written  upon  good  breeding, 
II  Corteggiano,  by  Castiglione,  grew  up  at  the  little  court  of 
Urbino,  and  you  should  read  it."  (Boswell,  The  Life  of  Samuel 
Johnson.  Journal  of  a  Tour  to  the  Hebrides.  2d  Oct.  1773. 
G.  Birkbeck  Hill,  v,  p.  276.) 

Count  Baldessare  Castiglione  (1478-1529)  was  a  Mantuan 
who  spent  his  life  in  the  service  first  of  the  Duke  of  Milan 
and  afterwards  of  Guidubaldo  di  Montefeltro,  Duke  of  Urbino. 
One  of  his  diplomatic  journeys  took  him  to  England,  whence, 
in  1507,  he  carried  home,  from  Henry  VII,  the  Order  of  the 
Garter,  for  his  master,  the  Duke  of  Urbino. 

II  Cortegiano,  the  result  of  its  author's  travels  and  observa- 
tions and  social  experiences,  represents  the  highest  conception 
of  manners  of  the  Renaissance.  It  is  a  mixed  type  of  manners, 
in  that  the  education  of  letters  of  the  Renaissance  is  engrafted 
upon  the  martial  discipline  of  feudal  times.  In  form,  II  Corte- 
giano is  modelled  on  the  Decameron  of  Boccaccio,  and  the  De 
Oratore  of  Cicero.  It  is  a  dialogue  supposed  to  be  carried  on  by 
a  distinguished  company  of  ladies  and  gentlemen  who  are 
assembled  at  the  Court  of  Urbino.  Among  these  personages 
the  chief  are  Giuliano  de'  Medici,  called  II  Magnifico, 
brother  of  Pope  Leo  X;  Ottaviano  Fregoso,  afterwards  Doge 
of  Genoa;  Cardinal  Bernardo  Bibbiena,  author  of  Calandra; 
Cardinal  Bembo,  author  of  Gli  Asolani;  L'Unico  Aretino; 
Elizabetta  Gonzaga,  Duchess  of  Urbino;  and  Emiha  Pia, 
Countess  of  Montefeltro. 


IlIANNERS  AND  MORALS  449 


The  subject  of  discussion  agreed  upon  is  that  proposed  by 
Messer  Federigo  Fregoso,  *'the  perfect  courtier,  what  are  all 
the  conditions  and  particular  qualifications  required  of  the 
man  who  shall  deserve  that  name." 

The  discussion  is  continued  through  four  evenings,  taking 
up  the  subject  under  four  heads:  (1)  Of  the  form  and  manner 
of  a  court  life;  (2)  Of  the  qualifications  of  a  courtier;  (3)  Of 
the  court  lady;  (4)  Of  the  duty  of  a  prince.  The  debate  on 
the  first  evening,  on  the  form  and  manner  of  a  court  life,  is 
conducted  by  Count  Lodovico  da  Canossa.  Following  the 
chivalric  ideal,  it  is  laid  down  that  the  perfect  courtier  should 
be  a  man  of  birth,  a  good  horseman,  and  able  to  swim,  leap, 
cast  the  stone,  and  play  tennis.  In  the  education  of  letters, 
he  should  be  able  to  speak  and  write  well,  imitating  the  diction 
of  the  best  writers,  of  whom,  in  the  vulgar  tongue,  Boccaccio 
and  Petrarch  are  praised  as  models.  Further,  the  perfect 
courtier  ought  to  be  more  than  moderately  instructed  in 
polite  letters,  he  should  understand  Greek  and  Latin  litera- 
ture also,  *on  account  of  the  variety  of  things  that  are  written 
in  those  languages  with  great  accuracy  and  beauty.'  So  in 
the  other  arts  of  expression,  he  should  know  something  of 
music,  and  be  able  to  play  upon  the  lute;  some  skill  also  in 
painting  increases  the  knowledge  of  the  beautiful  and  culti- 
vates the  taste. 

On  the  second  evening,  the  debate  is  led  by  the  proposer, 
Messer  Federigo  Fregoso,  who  develops  a  lively  and  enter- 
taining discussion  of  wit  and  humor.  Among  many  sprightly 
bon  mots,  here  are  one  or  two,  — 

The  Bishop  of  Cervia  said  to  the  Pope,  "Holy  Father,  the 
whole  court  and  city  will  have  it  that  you  have  pitched  upon 
me  for  governor." 

"Let  the  fools  talk,"  replied  the  Pope,  "you  may  assure 
yourself  there  is  not  a  word  of  truth  in  it." 

Marc'  Antonio,  being  one  day  exasperated  by  some  words 
of  Botton  da  Cesena,  cried,  "O  Botton,  Botton,  the  time  will 
surely  come  when  thou  shalt  be  the  button  and  a  halter  the 
button-hole." 


450  ELIZABETHAN  TRANSLATIONS 


Julian  de'  Medici  leads  the  conversation  of  the  third  eve- 
ning, on  the  court  lady.  The  conception  of  woman  brought 
out  is  made  up  partly  of  the  formal  and  sentimental  ideas  of 
the  old  Cours  Amour ,  and  partly  of  the  colorless  feminine 
light  o'  love  introduced  into  Italian  literature,  to  its  immense 
damage,  by  Boccaccio,  together  with  a  smack  of  Platonism. 
The  sentimental,  Platonic  lady  is  ably  defended  by  the  Mag- 
nifico,  while  the  disparager  of  women  is  Signor  Gaspare  Pal- 
lavicino. 

Signor  Ottaviano  Fregoso  conducts  the  final  debate,  on  the 
duty  of  a  prince.  It  is  held  that  a  monarchy,  under  a  good 
prince,  is  the  best  constituted  government,  although  Bembo 
prefers  a  republic  *  because  liberty  is  one  of  the  excellent  gifts 
of  God.' 

The  discussion  closes  with  Bembo's  impassioned  mono- 
logue on  love  and  beauty  that  held  the  company  spellbound 
until  dawn  broke. 

George  Wyndham  (Introduction  to  The  Poems  of  Shakspere) 
considers  Spenser's  Hymne  in  Honour  of  Beautie  but  a  versi- 
fying of  the  Fourth  Book  of  The  Courtyer,  and  goes  on  to  argue 
interestingly  that  Shakspere  must  have  taken,  from  this  Hymne 
and  from  The  Courtyer,  the  Platonic  philosophy  of  the  Sonnets, 

II  Cortegiano  had  become  a  world  book  and  was  known  in 
six  languages  before  Shakspere  began  to  write.  Florio,  in  his 
Second  Frutes  (1591),  mentions  "Castilions  Courtier  and 
Guazzo  his  Dialogues'*  as  "the  two  books  most  commonly 
read  by  those  who  desired  to  know  a  little  Italian."  There  is 
considerable  evidence,  some  of  it  given  in  these  pages,  that 
Shakspere  knew  Italian  literature  at  first  hand. 

I  think  Shakspere  had  read  II  Cortegiano.  As  a  dramatist, 
I  am  sure  he  was  fascinated  by  the  bright  dialogue  in  it.  In 
that  bright  dialogue,  the  "merry  war"  between  Lord  Gaspare 
Pallavicino  and  the  Countess  Emilia  Pia,  I  am  persuaded  he 
found  Benedick  and  Beatrice.  If  Benedick  and  Beatrice  are 
Lord  Gaspare  Pallavicino  and  Lady  Emilia  Pia,  as  I  believe 
they  are,  there  was  absolutely  nothing  to  do  to  the  charac- 


MANNERS  AND  MORALS  451 


ters,  for  dramatic  purposes,  except  to  make  them  lovers,  and 
there  are  indications  even  of  that  in  //  Cortegiano. 

This  suggestion  I  first  made  in  1899.  I  developed  it  into  an 
article  entitled.  The  Book  of  The  Courtyer :  A  Possible  Source 
of  Benedick  and  Beatrice.  The  paper,  which  I  read  at  the  Uni- 
versity of  Pennsylvania,  December  28, 1900,  was  printed  in  the 
Publications  of  The  Modern  Language  Association  of  America, 
Vol.  XVI,  No.  4,  December,  1901. 

Upon  my  suggestion  of  II  Cortegiano  as  the  source  of  Bene- 
dick and  Beatrice,  Dr.  Richard  Garnett  wrote  to  me,  January 
14,  1903,  —  "I  honestly  think  that  you  have  gone  a  long  way 
towards  proving  Shakspere  to  have  been  indebted  to  the 
Cortegiano  in  his  Much  Ado  About  Nothing.  There  is  not 
enough  evidence  for  demonstration,  but  you  have  established 
a  presumption  which  will  appear  all  the  stronger  the  more  one 
is  convinced  of  Shakspere's  acquaintance  with  Itahan  Uterature. 
I  have  no  doubt  on  the  point:  it  would  have  been  extraordi- 
nary if  the  acquaintance  which  he  undoubtedly  possessed  with 
Latin  and  French  had  not  stimulated  him  to  acquire  a  lan- 
guage in  his  day  more  current  in  polite  society  than  either  of 
them." 

Dr.  Horace  Howard  Furness  wrote  to  me,  that  he  held  back 
the  last  pages  of  the  Variorum  Much  Ado  About  Nothing  in 
order  to  incorporate  my  suggestion  that  Shakspere  found 
Benedick  and  Beatrice  in  //  Cortegiano.  He  wrote  the  very  last 
note  on  it.  See  A  New  Variorum  Edition  of  Shakespeare,  Vol. 
XII,  Mu£h  Ado  About  Nothing  (1889),  p.  404. 

See,  also.  The  Book  of  The  Courtier.  By  Count  Baldesar  Cas- 
tiglione.  Translated  from  the  Italian  and  Annotated  by  Leonard 
Eckstein  Opdycke.  (1901,  p.  316.)  And  Baldassare  Castiglione. 
The  Perfect  Courtier,  By  Julia  Cartwright  (Mrs.  Ady).  (1908, 
pp.  vi  and  vii.) 

373 

[1565.]  The  boke  of  Wisdome  otherwise  caUed  the  Flower  of 
VertuCy  folowing  the  Auctorities  of  aundent  Doctours  and  Phi- 


452  ELIZABETHAN  TRANSLATIONS 


losopherSy  deuiding  and  speaking  of  Vices  and  Vertues,  wyih 
many  goodly  examples  wherby  a  man  may  he  praysed  or  dys- 
praysedy  wyih  the  maner  to  speake  well  and  wyselie  to  al  folkes, 
of  what  estate  so  euer  they  bee.  Translated  fyrst  out  of  Italion 
into  French,  and  out  of  French  into  English  by  John  Larke. 
[1565.]  Lerne  my  godly  chyldren  to  eschew  vyce  [Woodcut  of  a 
philosopher  pointing  to  the  stars]  and  loke  you  to  lerne  vrisdo^e 
of  your  fore  fathers. 

[Colophon.]  Imprinted  at  London  in  Fletestreate,  beneathe 
the  Conduyte,  at  the  sygne  of  S.  John  Euangeliste  by  Thomas 
Colwell.  8vo.  107  leaves.  Black  letter.  British  Museum  (2 
copies). 

The  Boke  of  Wisdome  is  a  translation  of 

Comencia  una  opera  chiamata  Fiore  de  uirtute  che  tratta  de 
tutti  i  uitti  humani  x  igle  defugire  ihomini  c%  desidera  uiuere 
secodo  dio,  etc. 

[By  Tommaso  Leoni?  Venice.  1470?]  4to.  46  leaves.  Brit- 
ish Museum.  There  are  sixteen  Italian  editions  catalogued  in 
the  British  Museum,  eleven  between  [1470?]  and  1538. 

In  enumerating  "the  auctoures  of  thys  booke,'*  John  Larke 
cites  sixty-two  persons,  of  whom  the  first  is  Jesus  and  the  last 
"Galyen."  The  work  consists  of  fifty-seven  chapters,  gener- 
ally in  pairs,  each  virtue  being  accompanied  by  its  correspond- 
ing vice.  The  titles  of  some  of  the  chapters  are  as  follows :  — 

"How  Prudence  is  cheefe  buckler,  and  defence  of  all  Ver- 
tues. And  of  the  great  goodnes,  that  may  come  of  the  same  to 
all  persons,  after  the  auncyente  Phylosophers." 

"How  temperaunce  is  one  of  the  flowers  of  Prudence.  And 
how  he  that  hath  it  in  hym  maye  resiste  and  withstande 
many  evils  after  the  saienges  of  the  wise  men,  in  ye  chapter 
going  before." 

"How  a  man  oughte  to  take  gladnesse  and  Joye;  and  of 
what  thynge,  and  what  gladnesse  or  Joye  is." 

"Howe  the  uertue  of  peace  ought  to  be  mayntayned  and 
kepte;  and  of  the  greate  goodnesse  that  commeth  of  the  same, 
and  what  peace  is." 


MANNERS  AND  MORALS  453 


"Howe  Justyce  ought  to  be  done  and  ho  we  it  is  that  thynge 
that  dothe  measure  all  thynges  upon  earthe." 

"Howe  Injustyce  or  wrong  is  contrary  to  Justyce,  and 
howe  manye  maners  there  be  of  Iniustyce,  and  how  Iniustyce 
demandeth  vengeaunce  afore  God." 

Example  of  Justyce 
Apologue  of  the  Angel  and  the  Hermit 
"Of  Justice  it  is  red  in  the  life  of  holye  fathers,  that  there 
was  an  hermyte  whyche  long  time  had  serued  God  and  had 
done  greate  penaunce  for  hys  synnes,  to  whom  God  sent  after- 
warde  great  sicknesse;  and  by  cause  that  he  could  not  recouer 
hys  healthe  agayn  he  began  to  complaine  of  God  and  to  mur- 
mure  in  hymself e.  So  it  chaunced  on  a  day  that  the  aungell  of 
God  appered  unto  hym,  in  lykenesse  of  a  yonge  man,  and  sayd 
unto  hym,  come  wyth  me,  for  God  will  that  I  doe  showe  thee 
of  hys  secret  Justyce;  and  dyd  leade  him  into  the  towne,  to 
a  marchauntes  house,  whyche  had  in  a  coffre  a  great  number 
of  florences.  And  the  aungell,  in  the  syghte  of  the  hermyte, 
did  take  the  same  florence,  and  did  beare  them  into  the  house 
of  another  man,  whych  they  founde  in  sleepe,  and  the  aungell 
dyd  leue  the  sayde  florence  at  hys  chambre  dore,  to  the  intente 
that  when  he  should  open  the  dore,  that  he  should  fynde  them; 
and  thys  doone,  he  ledde  hym  to  the  house  of  another  mar- 
chaunte  that  had  a  chylde,  the  whyche  chylde  the  aungell 
dyd  kyll,  in  the  presence  of  the  sayde  heremite,  and  the  here- 
mite  seinge  all  these  thynges,  thoughte  that  the  aungell  had 
ben  a  deuyll,  and  wolde  fayne  haue  departed  from  hym.  The 
aungell,  seinge  that  he  woulde  depart  from  hym,  sayde  unto 
hym,  tarye  yet  a  litle,  for  I  wyll  showe  thee  the  reason,  wher- 
fore  I  haue  doone  these  thinges  in  thy  presence;  knowe  first 
wherfore  that  I  haue  taken  the  florence  from  the  burges;  it  is 
because  that  he  had  solde  his  herytage  for  the  sayde  florences, 
and  was  purposed  to  gyue  them  to  certaine  murtherers,  whyche 
had  promysed  hym  to  kyll  a  man  for  hys  sake,  the  whyche  had 
dyspleased  hym  aforetymes;  and  the  man  which  he  wolde 


454  ELIZABETHAN  TRANSLATIONS 


haue  caused  to  be  kylled,  is  a  man  of  noble  byrth,  wherof  shuld 
haue  come  greate  inconuenyence,  and  therfore  to  resyst  the 
euyl  that  might  haue  come  therof,  and  also  to  let  hym  of  hys 
euyll,  and  myscheuous  wyll  and  purpose,  I  haue  taken  the 
sayde  florence  from  hym;  and  when  he  shal  see  hym  selfe  pore 
and  to  haue  loste  hys  herytage  and  goodes,  he  wyll  gyue  hym- 
selfe  to  the  seruice  of  God,  and  where  he  shulde  haue  ben 
dampned  nowe  he  shalbe  saued.  The  reason  wherfore  I  haue 
born  the  florence  to  the  chambre  doore  of  the  other  man,  is 
because  that  he  was  a  ryche  marchaunte  whyche  came  from 
beyonde  the  sea,  and  had  bestowed  in  marchaundyce  all  the 
goodes  that  he  had,  and  putte  it  in  a  shyppe,  the  whych 
shyppe  did  peryshe  upon  the  sea,  then  he  did  remembre  one 
daye  howe  that  he  had  loste  all  hys  gooddes,  and  had  nothynge 
to  lyue  uppon,  began  to  fall  in  dyspayre,  and  was  purposed  to 
hang  hym  selfe,  and  therfore  to  the  intente  that  he  shoulde 
not  destroye  bothe  the  bodye  and  the  soule,  I  dyd  beare  hym 
the  foresaid  florences.  The  reason  whereof  I  haue  kylled  the 
chylde,  is  because  that  afore  that  the  father  had  him  he  was  a 
very  good  man,  and  gaue  much  almons,  and  did  many  good 
dedes  for  the  loue  of  God;  and  sence  that  he  had  the  chylde, 
he  cared  for  none  other  thynge,  but  onelye  to  get  rychesse, 
were  it  by  ryghte  or  wronge,  and  therefore  I  haue  kylled  the 
chylde,  to  the  intente  that  the  father  maye  retourne  to  hys 
purpose;  doe  not  meruayle  nor  grudge  therfore,  for  the  sycke- 
nesse  that  thou  haste,  for  if  it  hadde  not  bene,  thou  shoulde 
ofte  tymes  haue  thy  mynde  and  courage  in  vanytyes  wherby 
thou  shoulde  greatlye  haue  dyspleased  God;  and  be  thou  sure, 
that  God  doth  nothyng,  but  by  reason,  but  the  persones  haue 
not  knowledge  therof,  for  God  hathe  not  promysed  it  them, 
but  of  two  euylles  he  dothe  allwayes  take  the  lesse.  And,  this 
said,  the  aungell  dyd  departe  from  the  heremyte. 

"And  from  thenceforthe,  the  sayde  heremyte  dyd  neuer 
murmure  againste  God,  for  anye  maner  syckenesse  or  aduer- 
syty  that  he  did  send  him,  but  rather  dyd  thanke  God,  and 
alwaies  dyd  reioyce  hymselfe  in  his  sicknes  and  aduersyties. 


MANNERS  AND  MORALS 


455 


consyderynge  alwayes  that  it  was  of  the  goodnesse  of  God." 
{Censura  Literaria,  Vol.  vii,  p.  225,  Ed.  1808.) 

The  apologue  of  the  Angel  and  Hermit  is  one  of  the  stories 
of  the  Gesta  Romanorum  (MSS.  Harl.  2270,  ch.  lxxxx),  and 
its  first  appearance  in  English  must  have  been  in  Wynkyn  de 
Worde's  translation  of  the  Gesta,  without  date. 

A  second  translation  of  the  Gesta  Romanorum,  made  by 
Richard  Robinson,  went  through  six  impressions  between 
1577  and  1601. 

Besides  the  versions  of  the  Boke  of  Wisdome  and  of  these 
tv/o  translations  of  the  Gesta  Romanorum,  there  are  four  later 
ones  in  English.  The  first  occurs  in  — 

Certaine  Conceptions  or  Considerations  of  Sir  Percy  Herbert, 
upon  the  strange  Change  of  Peoples  Dispositions  and  Actions  in 
these  latter  Times.  Directed  to  his  Sonne. 

London.  1652.  4to.  Pp.  220  to  230.  British  Museum, 

It  is  entitled,  — 

A  most  full,  though  figurative  Story,  to  shew  that  God  Al- 
mighties Wayes  and  inscrutable  Decrees  are  not  to  be  compre- 
hended by  Humane  Fancies. 

James  Howell,  in  one  of  his  Letters,  To  my  Lord  Marquis 
of  Hartford,  without  date,  gives  a  variant  of  the  tale,  citing 
Sir  Percy  Herbert's  Conceptions  as  his  source.  (Vol.  iv.  Letter 
4,  of  Howell's  Letters,  pubUshed  between  1647  and  1650,  and 
p.  7  of  the  edition  of  1655.) 

The  story  is  also  found  in  the  Divine  Dialogues  (Part  i, 
p.  321.  Dialogue  II.  Edit.  London.  1668.  12mo),  of  Dr. 
Henry  More,  the  Platonist,  where  it  is  enriched  with  interest- 
ing moral  reflections.  And  Thomas  Parnell  closely  follows 
More  in  The  Hermit,  his  most  popular  poem.  W.  C.  T.  Dob- 
son,  royal  academician,  contributed  "The  Hermit,'*  with  a 
quotation  from  Parnell,  to  the  Academy  Exhibition  of  1842. 

Parnell's  version  is  said  to  be  the  tenth  —  the  story,  Uke 
many  another  one,  having  originated  in  Arabic,  and  come  into 
English  by  a  natural  process  of  descent. 

The  story  is  inserted  in  the  twentieth  chapter  of  Voltaire's 


456  ELIZABETHAN  TRANSLATIONS 


Zadig,  De  rHermite  qu^un  Ange  conduisit  dans  le  siecle.  The 
germ  of  the  tale  occurs  in  the  Koran  (Ch.  xx),  where  it  is  en- 
titled the  Cave. 

With  Fiore  di  virtu.  No.  22  [Zambrini's  Lihro  di  Novelle 
Antiche  (Bologna.  1868)],  compare  the  Decameron,  Introduc- 
tion to  Day  4,  the  story  of  the  hermit's  son  who  had  never 
seen  a  woman. 

374 

1570.  The  Morall  Philosophie  of  Doni:  drawne  out  of  the 
auncient  writers.  A  worke  first  compiled  in  the  Indian  tongue 
[by  Sendabar  or  rather  Bidpai]  and  afterwards  reduced  into 
diuers  other  languages:  and  now  lastly  englished  out  of  Italian 
hy  Thomas  North.  Brother  to  the  right  Honorable  Sir  Roger 
North  Knight,  Lord  North  of  Kyrtheling. 

Here  follows  an  engraving,  a  bad  copy  of  the  original,  with 
the  motto  *The  wisdome  of  this  worlde  is  folly  before  God.' 

Imprinted  at  London  by  Henry  Denham.  1570.  Sm.  4to. 
4  parts.  116  leaves.  Woodcuts.  Bodleian.  [Colophon.]  Here 
endeth  the  Treatise  of  the  Morall  Philosophie  of  Sendebar: 
In  which  is  layd  open  many  infinite  examples  for  the  health 
&  life  of  reasonable  men,  shadowed  under  tales  and  similitudes 
of  brute  beaste  without  reason.  Imprinted  at  London  by 
Henrie  Denham,  dwelling  in  Paternoster  Rowe,  at  the  signe 
of  the  Starre.  Also,  London,  1601.  4to.  British  Museum. 

The  Earliest  English  Version  of  the  Fables  of  Bidpai,  *  The 
Morall  Philosophie  of  Doni,^  by  Sir  T.  North.  Edited  by  Joseph 
Jacobs. 

London.  1888.  8vo. 

Dedicated  to  Robert,  Earl  of  Leicester,  and  with  commen- 
datory verses  in  English  and  Italian. 
This  is  a  translation  from  Antonio  Francesco  Doni,  — 
La  Moral  Filosophia  del  Doni,  Tratta  da  gli  antichi  scrittori; 
Alio  Illustriss.  S.  Don  Ferrante  Caracciolo  dedicata.  [Engrav- 
ing, with  the  motto  H  P  AP  ^0<1>IA  TOU  KO^MOU  TOUTOU 
MaPIA  TTAPA  TO  SEQ  E^TI.]  Con  pnvilegio. 


MANNERS  AND  MORALS 


457 


In  Uinegia  per  Francesco  Marcolini.  mdlii.  [4to.]  Six  later 
editions. 

The  Moral  Filosophia  is  an  Italian  version  of  the  old  Indian 
collection  of  tales,  called  Kalilah  wa  Dimnah,  or  The  book  of 
Kalilah  and  Dimnah.  It  corresponds  to  chapters  five  and  six 
of  Silvestre  de  Sacy's  Calila  et  Dimna  ou  Fables  de  Bidpai  en 
Arabe.  (Paris.  1816.  4to.) 

In  the  Indian  fable  Kalilah  and  Dimnah  are  two  jackals, 
who  are  courtiers  at  the  gate  of  the  King,  Pingalaka,  the  lion; 
but  Kalilah  in  Doni  appears  as  I '  asino  and  Dimnah  as  il  mulo. 

Sir  Thomas  North  translated  the  first  part  only  of  Doni's 
work,  which  goes  on,  in  the  same  volume,  freshly  and  contin- 
uously paged,  with  six  treatises,  entitled,  — 

Trattati  diversi  di  Sendebar  Indiano  filosopho  morale.  Alio 
illustrisSf  et  excellentiss.  S.  Cosimo  de  Medici  dedicati.  [Engrav- 
ing bearing  the  motto  '  Fiorenza.'] 

In  Uinegia  nelV  Academia  Peregrina.  mdlii. 

And  at  the  end  (p.  103)  stands  'In  Uinegia  per  Francesco 
Marcolini.  mdlii.' 

The  book  of  Kalilah  and  Dimnah  is  a  collection  of  tales  sup- 
posed to  be  related  to  a  King  of  India  by  his  philosopher,  in 
order  to  enforce  some  particular  moral  or  rule  of  conduct. 
In  many  of  the  stories  the  characters  are  animals  thinking  and 
acting  just  like  men  and  women.  Originally  Sanskrit,  the  book 
passed  from  Buddhist  literature  into  Persian,  and  thence  into 
nearly  every  known  Oriental  and  modern  language.  Doni's 
Moral  Filosophia^  for  example,  is  based  on  the  Latin  of  John 
of  Capua,  Directorium  humanae  vitae,  vel  Parabole  Antiquorum 
Sapientum  (1263-78;  printed,  1480(?)),  and  this,  in  its  turn, 
upon  a  Hebrew  translation  from  the  Arabic. 

In  its  migrations,  from  the  Sanskrit  original  of  the  Pant- 
chatantra,  though  Persian  and  Arabic,  the  names  of  both  king 
and  philosopher  vary.  Bidpai,  or  Pilpai,  the  philosopher  of 
the  Persian  version  known  as  the  Lights  of  Canopus,  or,  in 
English,  The  Fables  of  Pilpay,  is  a  wise  Brahmin  who  lives  in 
a  cave  of  the  holy  mountain  of  Ceylon.  Doni's  Sendebar  is  from 


458  ELIZABETHIAN  TRANSLATIONS 


Sandabar,  the  name  of  the  philosopher  in  the  Hebrew  version 
from  which  John  of  Capua  translated.  Possibly  this  form  is  a 
reminiscence  of  Shanzabeh,  the  Sanskrit  name  of  the  ox  in  the 
well-known  story  of  the  Lion  and  the  Ox  which  is  the  opening 
tale  of  the  original  Indian  book. 

In  the  Trattati  diversi  the  king  is  Fr.  Sforza,  Duke  of  Milan, 
the  philosopher  is  maestro  Dino  filosofo  Fiorentino,  and  the 
scenes  and  personages  are  all  Italian.  Dino  may  be  an  anagram 
of  Doni. 

The  device  of  the  supposed  saving  miracle,  of  Massinger's 
The  Guardian  (iii,  6),  la  sventurata  col  naso  mozzo  {Decameron, 
vn,  8),  was  probably  taken  from  this  translation  of  Doni. 

375 

1573.  Cardanus  Comforte  translated  into  English  [by  Thomas 
Bedingfield].  And  published  by  commaundement  of  the  Right 
Hon.  the  Earl  of  Oxenford. 

T.  Marshe.  London.  1573.  4to.  Black  letter.  British  Mu- 
seum, 

Newly  .  .  .  corrected  and  augmented.  With  commendatory 
verses,  by  Thomas  Churchyard. 

T.  Marsh.  London.  1576.  8vo.  Black  letter.  British  Mu- 
seum. 

There  is  a  dedication  to  the  Earl  of  Oxford  dated  "1  Jan. 
1571-2,"  which  is  followed  by  a  letter  to  the  translator,  and 
some  verses  to  the  reader,  both  written  by  the  Earl  of  Oxford. 

The  work  is  translated  from  Girolamo  Cardano's 

H.  C.  .  .  .  De  Consolations  libri  tres. 

Venetiis.  1542.  8vo.  British  Museum. 

A  different  English  translation  of  this  book  came  out  one 
hundred  years  later,  — 

Cardan,  his  three  hoohes  of  Consolation  Englished. 
London.  1683.  16mo.  British  Museum, 


MANNERS  AND  MORALS  459 


376 

1575.  Golden  epistles.  Contayning  varietie  of  discourse^ 
hath  Morally  Philosophically  and  Divine:  gather edy  as  well  out 
of  the  remaynder  of  Gueuaraes  woorkeSy  as  other  AuthourSy 
Latiney  Frenchey  and  Italian.  By  O.[eoffrey]  Fenton. 

London.  A.  Middleton  for  Ralph  Newberie.  1575.  8vo. 
Black  letter.  British  Museum.  Also,  London,  1577.  4to.  Black 
letter.  British  Museum.  And  London,  1582.  4to.  Pp.  347. 
Black  letter.  British  Museum  (2  copies) . 

Dedicated  to  "Ladie  Anne  [Cecil  De  Vere]  Countesse  of 
Oxenford." 

This  work  of  Fenton *s  is  a  kind  of  supplement  to  Edward 
Hellowes's 

The  Familiar  Epistles  of  Sir  Anthony  of  Gu£vara.  .  .  .  Trans- 
lated out  of  the  Spanish  Toung,  by  E.  Hellowes.  .  .  .  Now  cor- 
rected and  enlargedy  etc. 

London.  [1574.]  4to.  Black  letter.  1577.  4to.  1584.  4to. 
All  in  the  British  Museum. 

The  Dictionary  of  National  Biography  says  that  Fenton 
translated  the  Golden  Epistles  from  the  French.  I  find  a 
French  translation,  entitled,  — 

Epistres  Dories  moralles  &  familieres  [torn  l-2]y  traduites 
d'Espagnol  .  .  .  par  le  Seigneur  de  Guterryy  etc.  {Le  troisieme 
livre  des  Spistres  iUustres.  .  .  .  La  Revolts  que  les  Espaignolz 
firent  contre  leur  jeune  Prince,  Van  1520 y  &  Vyssue  dHcelle; 
avec  un  traiite  des  travaux  &  privileges  de  GalereSy  .  .  .  traduit 
.  .  .  en  Frangois  [by  Antoine  Dupinet,  Sieur  de  Noroy.])  3  tom. 

Lyon.  1556-60.  4to. 

377 

1576.  Galateo  of  Maister  John  Delia  Casa,  Archebishop  of 
Beneventay  Or  rathery  A  treatise  of  the  maners  and  behaviours 
it  behoveth  a  man  to  uze  and  eschewCy  in  his  familiar  conversa- 
tion. A  worke  very  necessary  &  profitable  for  all  Gentlemeny  or 
other.  First  written  in  the  Italian  tongue,  and  now  done  into 


460  ELIZABETHAN  TRANSLATIONS 


English  by  Robert  Peterson  of  Lincolnes  Inne  Gentlemen.  Satis, 
si  sapienter. 

Imprinted  at  London  for  Raufe  Newbery,  dwelling  in 
Fleetestreate,  a  little  above  the  Conduit.  An.  Do.  1576.  4to. 
Black  letter.  Pp.  16  +  122.  British  Museum.  Bodleian  {Douce 
Bequest) .  Harvard  University  Library. 

With  commendatory  verses  in  Italian,  by  Francesco  Pucci 
and  Alessandro  Citolini;  in  Latin,  by  Edouardus  Cradoccus, 
S.  Theologiae  Doctor  and  Professor;  and  in  English,  by  Thomas 
Drant,  Archdeacon,  J.  Stoughton,  Student,  and  Thomas 
Browne  of  L.  1.  Gent. 

Dedicated,  "To  the  Right  Honourable  my  singular  good 
Lord,  the  Lord  Robert  Dudley,  Earle  of  Leycester,  Baron  of 
Denbigh,  Knight  of  the  Honorable  order  of  the  Garter,  Maister 
of  the  Queenes  Maiesties  Horses,  one  of  her  Highnesse  priuie 
Counsell:  Robert  Peterson  wisheth  perfect  felicitie." 

This  booke  by  Tyber  and  by  Po  hath  past, 
Through  all  Italia  Townes  and  Country  lands. 
Iberus,  throughe  thy  Spanishe  coasts  as  fast 
It  after  yoade:  and  Gauls  it  held  in  hands, 
Throughe  Rhenus  realmes  it  spred  in  prosperous  speede, 
To  Lordes  and  Ladies  reaching  comly  reede. 
(Thomas  Drant  Archdeacon  in  praise  of  this  Booke.   [Second  of 
three  stanzas.]) 

Galateo  first  did  frame  this  golden  booke 
In  Ital  land.  From  thence  it  went  to  Spaine. 
And  after  came  into  the  coasts  of  Fraunce. 
And  now  at  last  in  England  doth  remaine. 
(Third  stanza  of  the  commendatory  poem  of  Thomas  Browne  of 
L.  I.  Gent.) 

Galateo,  Of  Manners  and  Behaviours  in  Familiar  Conversation 
by  Giovanni  delta  Casa  Archbishop  of  Benevento.  A  Faithful 
Reproduction  of  the  English  Translation  made  by  Robert  Peter- 
son of  Lincolnes  Inn  in  the  Year  1576. 

Edited  by  Herbert  J.  Reid,  F.S.A.,  F.R.S.L.,  Librarian  and 
Member  of  Council,  Royal  Society  of  Literature. 

Privately  printed.    1892.  4to.  [Without  place  of  imprint.] 


MANNERS  AND  MORALS  461 


Large  paper.  Pp.  xi  +  16  4-  122.  Thirty  copies  only.  Har- 
vard University  Library, 

Galateo  of  Manners  and  Behaviours. 

With  an  Introduction  by  J.  E.  Spingarn. 

Boston.  D.  B.  Updike.  1914.  8vo. 

Galateo  was  first  published,  posthumously,  in  the 

Rime  et  Prose  di  Giovanni  delta  Casa.  Edited  hy  E.  Gemini. 

Vinegia.  Nicolo  Bevilacqua.  1558.  4to.  British  Museum. 

The  first  separate  Italian  edition  came  out  a  year  later,  — 

Trattato  .  .  .  nel  quale  .  .  .  si  ragione  de*  modi,  che  si  debbono 
b  tenere  b  schifare  neUa  comune  conversatione,  cognominato 
Galatheo. 

Milano.  Antonio  di  gli  Antonii.  1559.  Svo.  British  Museum, 
J.  Casa  his  Galateus,  or  A  Treatise  of  Manners.  Translated 
from  the  Latin  of  Nathan  Chytraeus,  "by  several  young 
Gentlemen  educated  at  a  private  Grammar  School  near  Hack- 
ney." (1701.) 

Galateo  of  Manners:  or  Instructions  to  a  Young  Gentleman 
how  to  behave  himself  in  Conversation,  etc.  Written  originally  in 
Italian  and  done  into  English. 

London.  1703.  12mo.  British  Museum.  1763.  Svo. 

For  this  translation,  far  from  accurate  or  complete,  Barnaby 
Bernard  Lintot,  Pope's  publisher,  made  himself  responsible. 
The  *  translator '  apologizes  in  his  preface  for  any  errors,  adding, 
—  "I  was  not  a  little  discouraged  by  the  badness  of  the  Latin." 
But  he  does  not  allude  to  the  original,  nor  to  any  of  the  numer- 
ous translations  and  paraphrases  in  various  languages  that 
were  made  before  him. 

Galateo:  or  A  Treatise  on  Politeness  and  Delicacy  of  Manners 
.  .  .  From  the  Italian  of  Monsig.  G.  de  La  Casa,  etc. 

London.  1774.  16mo.  British  Museum,  Bodleian  (Douce 
Bequest), 

A  paraphrase  of  Galateo  by  the  Rev.  Richard  Graves. 
Nathan  Chytraeus  translated  Galateo  into  Latin,  and  his 
book  came  to  three  editions  in  Oxford,  — 
Jo.  Casae  Galateo,  sen  de  morum  honestate  et  elegantia  liber. 


462  ELIZABETHAN  TRANSLATIONS 


Oxford.  1580,  8vo;  1630,  Svo;  1665,  Svo,  —  all  three  Oxford 
imprints. 

Galateo  was  first  translated  into  French,  by  Jean  du  Peyrat, 
in  1562;  into  Spanish,  by  Domingo  de  Becerra,  in  1585;  into 
German,  in  1597.  In  1594,  Lucas  Gracian  Dantisco  brought 
out  in  Barcelona  an  imitation  of  GalateOy  which  he  called, 
Galateo  Espagnol.  Between  1594  and  1796,  twelve  Spanish 
editions  and  one  English  edition  of  El  Galateo  Espagnol  ap- 
peared. The  English  translation  is,  — 

Galateo  Espagnol^  or  The  Spanish  Gallant. 

London.  1640.  12mo. 

The  translator  was  William  Style,  or  Styles,  grandson  of 
Sir  Humphrey  Style,  esquire  of  the  body  to  Henry  VIII. 

In  all  I  have  met  with  fifty-four  different  editions  of  Galateo, 
in  English,  French,  Spanish,  Latin,  and  German,  of  which 
fourteen  are  English. 

Of  El  Galateo  Espagnol,  I  have  recorded  thirteen  editions, 
one  of  them  English.  Galateo  has  lived  356  years,  the  first  date 
of  its  history  being  1558  and  the  last,  1914.  In  this  study  of  the 
literary  influence  of  the  Italian  Renaissance,  it  is  the  second 
most  popular  book. 

Giovanni  della  Casa  (1500-56),  Archbishop  of  Benevento, 
Petrarchist,  and  author  of  Galateo,  has  been  called  the  Italian 
Chesterfield.  Galateo  is  an  admirable  treatise  on  good  manners. 
Differing  from  Castiglione's  II  Cortegiano,  which  prescribes 
the  training  and  discipline  of  the  man  of  birth  and  position, 
Galateo  aims  to  be  a  guide  to  the  average  gentleman  in  his  inter- 
course with  his  equals.  Like  the  Courtier,  it  has  enjoyed 
enduring  fame,  because  its  precepts  of  conduct  are  based  on 
those  general  principles  of  mutual  respect  and  tolerance  which 
hold  good  for  all  peoples  and  at  all  times.  Both  books  perhaps 
have  been  saved  from  the  perverse  fate  of  manuals  of  etiquette 
in  general  by  the  fact  that  in  a  simple,  dignified  way,  and  with 
singular  distinction  of  style,  they  recognize  the  final  sanction 
of  tact  as  the  mark  of  education  and  culture,  and  inculcate 
the  importance  of  it  as  a  imiversal  social  duty. 


MANNERS  AND  MORALS  463 


The  title  of  Galateo  passed  into  a  proverb.  *To  teach  the 
Galateo*  is  synonymous,  in  Itah'an,  with  *to  teach  good  man- 
ners.' Galateo  is  named  from  Galeazzo  Florimonte,  Bishop  of 
Sessa,  who  suggested  to  his  friend  Giovanni  della  Casa  that  he 
write  the  book. 

Galateo  discusses  social  conduct  with  much  particularity, 
instructing  the  young  man  on  such  points  as  the  proper  use 
of  the  drinking-glass  at  table,  the  employment  of  the  napkin, 
how  to  dress  the  hair,  etc.  I  quote  from  Herbert  J.  Reid's 
edition :  — - 

"to  rise  up  where  other  men  doe  sit  and  talke,  and  to  walke 
up  and  downe  the  chamber,  it  is  no  poynt  of  good  maner. 
Also  there  be  some  that  so  buskell  them  selues,  reache,  streatch 
and  yawne,  writhing  now  one  syde,  and  then  another,  that 
a  man  would  weene,  they  had  some  feuer  uppon  them:  A 
manifest  signe,  that  the  companye  they  keepe,  doth  weary 
them. 

"Likewise  doe  they  very  yll,  yt  now  and  then  pull  out  a 
letter  out  of  theyr  pocket,  to  reade  it;  as  if  they  had  greate 
matters  of  charge,  and  affaires  of  the  common  weale  com- 
mitted unto  them.  But  they  are  much  more  to  be  blamed, 
that  pull  out  theyr  knyves  or  their  scisers,  and  doe  nothing 
els  but  pare  their  nayles,  as  if  they  made  no  account  at  all  of 
the  company,  and  would  seeke  some  other  solace  to  passe  the 
time  awaye.  Theis  fashions  to,  must  be  left,  some  men  use,  to 
sing  betwene  the  teeth,  or  play  the  dromme  with  their  fingers, 
or  shoofle  their  feete.  For  these  demeanours  shewe  that  a 
body  is  carelesse  of  any  man  ells"  (pp.  16-17). 

"  And  more  ouer  a  man  must  beware  that  he  say,  not  those 
things,  which  unsaide  in  silence  would  make  the  tale  plesaunt 
inoughe,  and,  peraduenture,  geue  it  a  better  grace  to  leaue 
them  out.  As  to  say  thus,  *  Such  a  one,  that  was  the  sonne  of 
such  a  one,  that  dwelt  in  Cocomer  Streete:  do  you  knowe  him? 
he  maried  the  daughter  of  Gianfigliazzi,  the  leane  scragge,  that 
went  so  much  to  Saint  Laraunce.  No?  do  not  you  know 
him?  why?  do  you  not  remember  the  goodly  stray ght  old  man 


464  ELIZABETHAN  TRANSLATIONS 


that  ware  long  haire  downe  to  his  shoulders?'  For  if  it  were 
nothing  materiall  to  the  tale,  whether  this  chaunce  befell  him, 
or  him,  all  thys  long  babble,  and  fond  and  folishe  questions, 
were  but  a  tale  of  a  Tubbe;  to  no  purpose,  more  than  to  weary 
mens  eares  that  harken  to  it,  and  long  to  understand  the  end" 
(pp.  72-73). 

"And  to  weare  a  toothpicke,  about  your  neck:  of  all  fashions 
that  is  the  worst.  For,  besides  that  it  is  a  bauld  Jewell  for  a 
gentleman  to  pull  forth  of  his  bosome,  and  putteth  men  in 
mind  of  those  Toothdrawers  that  sit  one  their  benche  in  the 
stretes;  it  makes  men  also  to  thinke,  that  the  man  loues  his 
belly  full  well,  and  is  prouided  for  it.  And  I  see  no  reason, 
why  they  should  not  aswell  carry  a  spoone,  about  their  neckes, 
as  a  toothepicke  "  (pp.  113-14). 

"Some  men  there  be,  that  have  a  pride  or  a  use  to  drawe 
their  mouthes  a  little  awry,  or  twinckle  up  their  eye,  and  to 
blow  up  their  cheekes,  and  to  puffe,  and  to  make  with  their 
countenaunce  sundrie  such  like  foolishe  and  ilfauoured  faces 
and  gestures.  I  councell  men  to  leaue  them  cleane.  For  Pallas 
herselfe,  the  Goddesse,  (as  I  haue  hearde  some  wise  men  say) 
tooke  once  a  great  pleasure  to  sound  the  flute  and  the  cornet; 
and  therin  she  was  verie  cunning.  It  chaunst  her,  one  day, 
sounding  her  Cornet  for  her  plesure  ouer  a  fontain,  she  spide 
her  selfe  in  the  water,  and  when  she  beheld  those  strange 
gestures  she  must  nedes  make  with  her  mouth  as  she  plaid; 
she  was  so  much  ashamed  of  it  that  she  brake  the  cornet  in 
peces  and  cast  it  away  "  (p.  119). 

378 

The  Rich  Cabinet  furnished  with  varietie  of  Excellent  discrip- 
tionSy  exquisite  Charracters,  witty  discourses,  and  delightful  His- 
tories. Deuine  and  Morrall.  Together  with  Inuectives  against 
many  abuses  of  the  time  digested  Alphabetically  into  common- 
places. Whereunto  is  annexed  the  Epitome  of  good  manners,  ex- 
tracted from  Mr.  John  de  la  Casa,  Arch-bishop  of  Beneventa. 
[Attributed  to  Thomas  Gainsford,  by  W.  C.  Hazhtt.] 


MANNERS  AND  MORALS  465 


London.  Printed  by  1.  B.  for  Roger  Jackson  and  are  to  be 
sold  at  his  shop  neere  Fleet  Conduit,  1616.  Sm.  8vo.  London. 
1668.  Bvo.  4th  edition.  London.  1689.  12mo.  6th  edition. 

A  curious  miscellany  of  prcse  and  verse,  arranged  in  alpha- 
betical order.  The  Epitome  of  good  manners  at  the  end  is  a 
paraphrase  of  the  Galateo  of  Giovanni  della  Casa.  The  Invec- 
tives are  a  series  of  theophrastic  sentences  upon  the  general 
text,  'player  is  now  a  name  of  contempt.'  The  whole  tract 
possesses  a  unique  interest,  because,  published  in  the  year  of 
Shakspere's  death,  the  character  of  the  player  presented  in  it, 
his  virtues  and  his  defects,  shows  plainly  the  social  stigma  which 
was  then  attached,  both  to  the  poet  who  wrote  for  the  stage, 
and  to  the  player  who  interpreted  his  works.  Shakspere's 
Sonnets  (110  and  111)  reveal  how  he  smarted  under  it.  Ben 
Jonson,  at  Hawthornden,  says  with  characteristic  bluntness, 
"Poetry  had  beggared  him,  when  he  might  have  been  a  rich 
lawyer,  physician,  or  merchant."  {Notes  of  Ben  Jonson' s 
Conversations  with  William  Drummond.)  Beaumont  was  born 
a  gentleman,  and  the  fact  that  his  name  appears  first  on  the 
title-page  of  The  Scornful  Lady^  published  in  this  same  year, 
immediately  after  his  death,  would  seem  to  indicate  that  he 
did  not  care  to  be  known  as  a  playwright  during  his  lifetime. 

379 

The  Refined  Courtier;  or  A  Correction  of  Several  Indecencies 
crept  into  Civil  Conversation.  [In  part  translated  and  abridged 
from  G.  della  Casa's  Galateo,  by  N.  W.] 

London.  For  R.  Royston.  1663.  12mo.  British  Museum, 

Dedicated  to  James,  Duke  of  Monmouth. 

The  Refined  Courtier;  or  a  Correction  of  Several  Indecencies 
crept  into  Civil  Conversation. 

London.  Printed  for  R.  Royston,  Bookseller  to  the  King's 
most  Excellent  Majesty;  and  are  to  be  sold  by  Matthew  Gilli- 
flower  and  William  Hensman,  Booksellers  at  the  Spread 
Eagle  and  Crown  in  Westminster  Hall.  1679.  12mo. 

Dedicated  to  James,  Duke  of  Monmouth,  and  having  for 


466  ELIZABETHAN  TRANSLATIONS 


a  frontispiece  an  engraved  portrait  of  Monmouth  by  F.  H.  Van 
Houe. 

See  Retrospective  Review.  Second  Series,  Vol.  ii,  p.  375. 

The  Refined  Courtier  .  .  .  Written  ,  .  .  in  Italian  hy  J.  C. 
from  thence  into  Latin  hy  N.  Chytraeus,  and  from  both  .  .  .  made 
English  by  N.  W. 

London.  1686.  12mo.  British  Museum. 

The  Refined  Courtier  .  ,  ,  To  which  are  added  The  Adventures 
of  a  Bashful  Man. 

London.  1804.  16mo.  British  Museum. 

380 

1577.  The  Court  of  Civill  Courtesie. 

Was  owned  by  the  Duke  of  Devonshire,  Chatsworth  Library, 
1899. 

The  Court  of  duiU  Courtesie.  Fitlie  furnished  with  a  pleasant 
part  of  stately  phrases  and  pithy  precepts:  assembled  in  the  behalf e 
of  all  young  Gentlemen,  and  others,  that  are  desirous  to  frame 
their  behauiour  according  to  their  estates,  at  oil  times  and  in  all 
companies.  Therby  to  purchase  worthy  praise  of  their  inferiours: 
and  estimation  and  credite  among  their  betters.  Out  of  the  Italian, 
by  S.  R.  Gent. 

Imprinted  at  London  by  Richard  Jhones.  1591.  4to.  Black 
letter. 

The  author  of  this  book  was  ostensibly  "Bengalasso  del 
Monte,  Prisacchi  Retto,"  who  is  described  by  Richard  Jones, 
the  printer,  as  "a  Noble  and  graue  personage  of  Italy.'*  It 
was  written  for  the  benefit  or  "behauiour"  of  his  nephew, 
"Seig.  Princisco  Ganzar  Moretto,"  in  the  following  circum- 
stances :  — 

"At  my  last  being  at  Prisacchi,  understanding  by  your 
father's  talke,  that  hee  minded  to  haue  you  a  while  in  the 
Court,  where  he  hath  spent  the  better  part  of  his  life;  and 
because  it  is  frequented  with  all  sortes  of  companies,  as  any 
place  in  Italy  is,  I  haue  directed  this  little  booke,  which  if 
you  read  and  marke  diligently,  shal  be  as  it  were  a  Guide,  to 


MANNERS  AND  MORALS  467 


lead  you  from  a  number  of  snares  which  you  may  be  trapt 
withal,  &  also  for  your  behauior  in  al  companies:  with  many 
other  things  fit  to  be  knowen  of  yong  Gentlemen,  and  es- 
peciallie  for  such  as  haue  not  bene  convuersant  in  all  com- 
panies." {The  Athenaeum,  No.  3666,  Jan.  29,  1898,  and 
No.  3667,  Feb.  5,  1898.) 

381 

1579.  Physicke  against  Fortune,  as  well  prosperous,  as  ad- 
verse, conteyned  in  two  Bookes,  whereby  men  are  instructed,  with 
lyke  in  differencie  to  remedie  theyr  affections,  as  well  in  tyme  of 
the  hryght  shynyng  sunne  of  prosperitie,  as  also  of  the  foule  low- 
ring  stormes  of  adversitie.  Written  in  Latine,  by  Frauncis  Pe- 
trarch, a  most  famous  poet  and  oratour,  and  now  first  Englished 
by  r[homas]  Twyne. 

Imprinted  at  London  in  Paules  Churchyarde,  by  Rychard 
Watkyns.  1579.  4to.  Black  letter.  British  Museum. 

This  is  a  translation  of  Petrarch's  set  of  Latin  dialogues, 
De  Remediis  Utriusque  Fortunae  (1356).  The  earliest  Italian 
edition  of  the  original  that  I  find  in  the  British  Museum  Cata- 
logue is,  — 

Francisci  Petrarcae  poetae  oratorisque  clarissimi  de  Remediis 
utriusque  fortunae.  .  .  . 
Cremonae.  1492.  Folio. 

Petrarch's  first  book  treats  of  the  snares  of  prosperity,  the 
second  of  the  uses  of  adversity. 

The  translation  is  alluded  to  by  Marston  in  The  Malcon- 
tent (ill,  1) :  — 

BUioso.  "My  lord,  I  have  some  books  which  have  been 
dedicated  to  my  honour,  and  I  never  read  them,  and  yet  they 
had  very  fine  names :  Physick  for  fortune;  Lozenges  of  sancti- 
fied sincerity.  Very  pretty  works  of  curates,  scriveners,  and 
schoolmasters.  Marry,  I  remember  one  Seneca,  Lucius  Anneus 
Seneca." 


468  ELIZABETHAN  TRANSLATIONS 


382 

1585.  The  Worthy  Tract  of  Paulus  lovius,  contayning  a 
Discourse  of  rare  InuentionSy  both  militarie  and  amorous^  called 
Impresse.  Whereunto  is  added  a  Preface,  contayning  the  Arte 
of  composing  them,  with  many  other  notable  Denises.  By  Samuel 
Daniell,  late  Student  in  Oxenforde. 

London.  Printed  by  Simon  Waterson.  1585.  8vo.  British 
Museum. 

N.  W.,  in  an  Epistle  prefixed  to  The  Worthy  Tract,  says,  — 
"If  courtiers  are  inwardly  ravished  in  viewing  the  picture  of 
Fiametta,  which  Boccace  limned;  if  ladies  entertaine  Bandel 
or  Ariosto  in  their  closets;  if  lovers  embrace  their  phisition  Ovid 
in  extremities  of  their  passion :  then  will  gentlemen  of  all  tribes, 
much  rather  honour  your  Impresa,  as  a  most  rare  jewell  and 
delicate  enchiridion." 

Dedicated  to  the  "Right  Worshipful  Sir  Edward  Dimmock, 
Champion  to  hir  Majestic." 

A  translation  of  Paolo  Giovio's  essay  on  mottoes  and  badges, 
entitled,  — 

Ragionamento  di  Paolo  Giouio  sopra  i  Motti,  e  Disegni 
d '  Arme  e  d '  Amore  communemente  chiamano  Imprese.  Con  un 
Discorso  di  G.  Ruscelli,  intorno  alio  stesso  soggetto. 

Venetia.  1556.  8vo.  British  Museum.  (Second  edition  of 
Dialogo  delV  Imprese  Militari  et  Amorose.  Roma.  1555.  8vo. 
British  Museum.) 

The  Worthy  Tract  is  interesting  as  being  Daniel's  first  pub- 
lication. 

383 

1586.  The  ciuile  Conversation  of  M.  Stephen  Guazzo,  written 
first  in  Italian,  diuided  into  foure  bookes,  the  first  three  trans- 
lated out  of  French  by  G.  pettie.  In  the  first  is  contained  in 
generall,  the  fruits  that  may  be  reaped  by  Conuersation,  and 
teaching  how  to  know  good  companie  from  ill.  In  the  second,  the 
manner  of  Conuersation,  meete  for  all  persons,  which  shall  come 


MANNERS  AND  MORALS  469 


in  ante  companies  out  of  their  owne  houses,  &  then  of  the  par- 
ticular points  which  ought  to  he  ohserued  in  companie  betweene 
young  men  and  olde.  Gentlemen  and  yeomen.  Princes  and  pri- 
uate  persons,  learned  and  unlearned.  Citizens  and  strangers. 
Religious  and  secular,  men  &  women.  In  the  third  is  perticularlie 
set  forth  the  orders  to  be  ohserued  in  Conuersation  within  doores 
betweene  the  husband  and  the  wife,  the  father  and  the  sonne, 
brother  and  brother,  the  maister  and  the  seruant.  In  the  fourth  is 
set  downe  the  forme  of  Ciuile  Conuersation,  by  an  example  of  a 
Banquet,  made  in  Cassale,  betweene  sixe  Lords  and  foure  Ladies. 
And  now  translated  out  of  Italian  into  English  by  Barth.  Young, 
of  the  middle  Temple,  Gent. 

Imprinted  at  London  by  Thomas  East.  1586.  4to.  British 
Museum.  Cornell  University  Library. 

An  English  translation  of  La  civil  conversatione  of  1738, 
is  entitled,  The  Art  of  Conversation. 

The  Civile  Conversation  is  in  prose  with  a  few  verses  inter- 
spersed. It  is  translated  from 

La  civil  conversatione  del  Signor  S,  G.  [Stefano  Guazzo], 
gentilhux)mo  di  Casale  di  Monferrato,  divisa  in  quattro  libri. 

Venegia.  1575.  8vo.  British  Museum.  Earlier  edition, 
Brescia,  Tomaso  Bozzola.  1574.  4to. 

Translated  into  French  by  Frangois  Belleforest.  (Paris, 
P.  Cavellat,  1579.  8vo;  Geneve.  1598.  16mo.  Cornell  Uni- 
versity Library.)  Also,  by  Gabriel  Chappuys.  {Lyon,  J.  Ber- 
nard. 1579.  8vo;  Lyon.  B.  Rigaud,  1592.  16mo.) 

Books  I,  II,  and  iii  were  printed  separately  in  1581  (4to),  and 
were  dedicated  to  Lady  Norris,  wife  of  Sir  Henry  Norris,  by 
George  Pettie. 

Sir  Henry  Norris  (1525 (?)-l 601),  son  of  Henry  Norris, 
groom  of  the  stole,  Anne  Boleyn's  alleged  lover,  was  created 
by  Queen  Ehzabeth  Baron  Norris,  of  Rycote,  which  came  to 
him,  in  1559,  from  his  wife,  Margaret,  daughter  of  John  Wil- 
liams of  Thame.  Rycote  was  ten  miles  east  of  Oxford  on  the 
way  to  Thame.  Elizabeth  visited  Rycote  September  28,  1592. 
For  the  entertainment  at  Rycote  on  this  occasion,  see  R.  War- 


470  ELIZABETHAN  TRANSLATIONS 


wick  Bond's  The  Complete  Works  of  John  Lyly,  Vol.  i,  pp. 
485-90. 

In  the  opening  speech,  "an  olde  gentleman"  (Sir  Henry 
Norris)  refers  to  his  wife,  in  allusion  to  her  dark  complexion 
as  "the  Crowe  my  wife."  Fuller  {Worthies  of  England,  Vol. 
Ill,  pp.  15-18)  mentions  this  nickname  given  by  Elizabeth  to 
Lady  Norris,  and  quotes  the  Queen's  letter  of  condolence,  22 
September,  1597,  on  Sir  John  Norris's  death,  beginning,  "My 
own  Crow." 

A  striking  monument  in  St.  Andrew's  Chapel,  Westminster 
Abbey,  commemorates  this  worthy  couple  and  their  six  sons. 
Life-size  figures  of  Lord  and  Lady  Norris  lie  beneath  an 
elaborate  canopy  supported  by  marble  pillars,  while  aroimd 
them  kneel  eflfigies  of  their  children.  The  six  sons,  all  soldiers, 
were  William,  marshal  of  Berwick  (died  1579),  Sir  John,  the 
most  famous.  Sir  Edward,  Sir  Henry,  Sir  Thomas,  president 
of  Munster,  and  Maximilian.  Sir  John  and  Sir  Edward  Norris 
were  fellow  soldiers  with  Sir  Philip  Sidney  in  the  Earl  of  Leices- 
ter's disastrous  campaign  in  the  Low  Countries,  1585-86. 

The  banquet  at  Casale  is  intended  as  an  exemplification  of 
the  rules  of  polite  society  laid  down  in  the  book,  and  for  this 
purpose  the  company  is  described  in  the  minutest  detail  — 
what  the  six  lords  and  four  ladies  talked  about,  what  games 
they  played,  how  they  supped,  and  all  their  doings  up  to  their 
dispersal. 

384 

1586.  A  choice  of  Emhlemes,  and  other  Devises,  for  the  moste 
parte  gathered  out  of  sundrie  writers,  Englished  and  Moralized: 
and  divers  newly  devised,  hy  Geffrey  Whitney.  A  worke  adorned 
with  varietie  of  matter,  both  pleasant  and  profitable:  wherein  those 
that  please  maye  finde  to  fit  their  fancies:  Because  herein,  by  the 
office  of  the  eie  and  the  eare,  the  minde  maye  reape  dooble-delighte 
throughe  holsome  preceptes,  shadowed  with  pleasant  devises:  both 
fit  for  the  vertuous,  to  their  incoraging;  and  for  the  wicked,  for 
their  admonishing  and  amendment. 


MANNERS  AND  MORALS  471 


Imprinted  at  Leyden,  in  the  House  of  Christopher  Plantyn, 
by  Francis  Raphelengius.  1586.  4to.  2  parts.  Reprinted. 
1866.  4to.  With  Notes  and  Dissertations,  by  Henry  Green. 

Dedicated  to  Robert  Dudley,  Earl  of  Leicester. 

Of  the  two  hundred  and  forty-eight  emblems  here  set  forth 
by  Geoffrey  Whitney,  two  hundred  and  two  are  identical  with 
the  emblems  or  imprese  of  Andrea  Alciat  or  Alciati,  Gabriele 
Faerne,  Claude  Paradin,  Jean  Sambucus,  Adrien  Junius,  and 
others;  twenty-three  emblems  are  suggested  by  previous  em- 
blem writers,  and  twenty-three  are  original.  Whitney's  form 
is  a  device  or  woodcut  with  an  appropriate  motto,  followed 
by  short  poems.  These  poems  consist  of  one  or  more  stanzas 
of  six  hues,  a  quatrain  with  concluding  couplet,  and  are  uni- 
formly good,  though  not  musical.  They  prove  Geoffrey  Whit- 
ney to  have  been  a  learned  and  modest  man  thoroughly  at 
home  with  his  subject.  As  many  of  the  poems  are  addressed 
to  historical  personages,  either  Whitney's  kinsmen  or  friends, 
or  some  distinguished  contemporary,  the  collection  is  a  store- 
house of  information  about  people,  places,  and  things  Eliza- 
bethan. 

385 

1595.  Nennio,  Or  A  Treatise  of  Nobility:  Wherein  is  discoursed 
what  true  Nobilitie  isy  with  such  qualities  as  are  required  in  a 
perfect  Gentleman.  Done  into  English  by  PF.[illiam]  Jones,  Gent. 

Printed  by  P.  S.  for  P.  Linley  and  J.  Flasket.  [London.] 
1595.  4to.  British  Museum. 

Duplicate,  with  new  title-page,  and  without  dedications, 
1600,  — 

A  discourse  whether  a  nobleman  by  birth,  or  a  Gentleman  by 
desert  is  greater  in  Nobilitie.  [Translated  from  the  Italian,  by 
W.[illiam]  Jones.] 

Peter  Short.  London.  1600.  4to.  British  Museum. 

The  work  is  translated  from  Giovanni  Battista  Nenna's 

II  Nennio.  Nel  quale  si  ragiona  di  nobilta. 

Vinegia.  1542.  8vo.  British  Museum. 


472  ELIZABETHAN  TRANSLATIONS 


The  edition  of  1595  contains  commendatory  sonnets  by 
Edmund  Spenser,  George  Chapman,  Samuel  Daniel,  and 
Angel  Day. 

Sonnets 

[Quoted  in  original  order.] 

From  Nennio,  Or  a  Treatise  of  Nobility,  etc.  Written  in  Italian  by 
that  famous  Doctor  and  worthy  Knight,  Sir  John  Baptista  Nenna  of 
Barri,   Done  into  English  by  William  Jones,  Gent.  1595. 

Who  so  wil  seeke  by  right  deserts  t'attaine, 
Unto  the  type  of  true  Nobility, 
And  not  by  painted  shewes  &  titles  vaine, 
Deriued  farre  from  famous  Ancestrie: 
Behold  them  both  in  their  right  visnomy 
Here  truly  pourtrayt,  as  they  ought  to  be, 
And  striuing  both  for  termes  of  dignitie. 
To  be  aduanced  highest  in  degree. 
And  when  thou  doost  with  equall  insight  see 
the  ods  twixt  both,  of  both  the  deem  aright. 
And  chuse  the  better  of  them  both  to  thee: 
But  thanks  to  him  that  it  deserues,  behight; 
To  Nenna  first,  that  first  this  work  created, 
And  next  to  Jones,  that  truely  it  translated. 

Ed.  Spenser. 

Of  William  Jones,  his  "Nennio,  1595" 

Here  dost  thou  bring  (my  friend)  a  stranger  borne 

To  be  endenized  with  us,  and  made  our  owne, 

Nobilitie;  whose  name  indeed  is  worne 

By  manie  that  are  great,  or  might ie  growne: 

But  yet  to  him  most  natural,  best  knowne. 

To  whom  thou  doost  thy  labours  sacrifize. 

And  in  whom  al  those  virtues  best  are  showne 

Which  here  this  little  volume  doth  comprize. 

Whereon  when  he  shall  cast  his  worthie  eies, 

He  here  shol  glasse  himself e,  himself e  shal  reed: 

The  modell  of  his  owne  perfections  lies 

Here  plaine  describ'd,  which  he  presents  indeed: 

So  that  if  men  can  not  true  worth  discerne 

By  this  discourse,  look  they  on  him  and  learne. 

Sa.  Danyel. 


MANNERS  AND  MORALS  473 


The  personage  Daniel  alludes  to  in  this  sonnet  is  "Robert 
Devreux  [sic],  Earle  of  Essex  and  Ewe,  Vicount  of  Hereford, 
Lord  Ferrer  of  Chartley,"  etc.,  to  whom  William  Jones  dedi- 
cated Nennio. 

To  the  author  of  Nennio 

Accept,  thrice  noble  Nennio,  at  his  hand 
That  cannot  bid  himself  welcome  at  home, 
A  thrice  due  welcome  to  our  native  strand, 
Italian,  French,  and  English  now  become. 
Thrice  noble,  not  in  that  used  epethite. 
But  noble  first,  to  know  whence  noblesse  sprung, 
Then  in  thy  labour  bringing  it  to  light. 
Thirdly,  in  being  adorned  with  our  tongue. 
And  since  so  like  itself  thy  land  affords 
The  right  of  noblesse  to  all  noble  parts, 
I  wish  our  friend,  giving  thee  English  words. 
With  much  desert  of  love  in  English  hearts. 
As  he  hath  made  one  strange  an  Englishman, 
May  make  our  minds  in  this,  Italian. 

Ex  tenebris    [George  Chapman. 1 

386 

1598.  Hecatonphila.  The  Arte  of  Loue,  Or^  Loue  discouered 
in  a  hundred  seueraU  kindes. 

Printed  at  London  by  P.  S.  for  William  Leake,  and  are 
to  be  sold  at  his  shop  in  Paules  Churchyard,  at  the  signe  of 
the  Greyhound.  1598.  12mo.  48  leaves.  British  Museum. 

Dedicated  "To  the  Right  WorshipfuU  Ma:  Henry  Prannell 
Esquire,  the  true  Friend  and  Fauourer  of  all  laudable  Profes- 
sions." Prefixed  is  "In  Artem  Amandi  Decastichon,'*  signed 
Franciscus  Meres. 

This  is  a  translation  of  Alberti's  prose  poem,  entitled,  — 

Hecatomphilay  ne  la  quale  se  insegna  V ingeniosa  arte  d'  amor e, 

Venetia.  1545.  8vo. 

It  is  a  lecture  addressed  to  women  by  a  professed  mistress 
of  the  art  of  love.  She  tells  them  how  to  choose  a  lover,  neither 
too  young  nor  too  old,  not  too  rich  nor  yet  too  handsome,  how 


474  ELIZABETHAN  TRANSLATIONS 


to  keep  him  and  in  what  way  to  make  the  most  of  him.  Al- 
berti  is  a  misogynist,  and  his  title  is  a  sarcastic  one  meaning 
*the  lady  of  a  hundred  loves.' 

387 

1600.  The  Hospitall  of  Incurable  Fooles:  erected  in  English 
as  neer  the  first  Italian  modell  and  platforme  as  the  unskilfull 
hand  of  an  ignorant  Architect  could  deuise.  I  pazziy  e  li  pru- 
denti,  fanno  giustissima  bilancia. 

Printed  by  Edm.  BoUifant  for  Edward  Blount.  1600.  4to. 
British  Museum. 

Dedicated  "To  the  Good  Old  Gentlewoman,  and  her  Special 
Benefactresse,  Madam  Fortune,  Dame  Folly  (Matron  of  the 
Hospitall)  makes  curtesie,  and  speakes  as  foUoweth." 

From  the  Italian  of  Tommaso  Garzoni, 

L '  hospidale  de*  Pazzi  incur abili  .  .  .  nuovamente  formato  e 
posto  in  luce  .  .  .  con  tre  Capitoli  in  fine  sopra  la  Pazzia. 

Ferrara.  1586.  8vo.  British  Museum. 

The  Huth  Catalogue  says  that  the  original  was  printed  at 
Venice  in  1586.  A  French  translation  appeared  at  Paris  in 
1620,  and  a  German  version  at  Strasbourg  two  years  earlier, 
in  1618. 

Edward  Blount,  or  Blunt,  is  himself  supposed  to  be  the 
translator. 

388 

1603.  A  Dialogue  full  of  pithe  and  pleasure:  between  three 
Phylosophers:  Antonio^  MeandrOy  and  Dinar co:  Upon  the  Dig- 
nities or  Indignitie  of  Man.  Partly  translated  out  of  Italian,  and 
partly  set  downe  by  way  of  obseruation.  By  Nicholas  Breton, 
Gentleman, 

Dignus  honore  plus, 

Gloria  sola  Deus. 
London.  Printed  by  T.  C.  for  John  Browne,  and  are  to  be 
solde  at  his  Shop  in  Saint  Dunstons  Churchyard  in  Fleet- 
streete.   1603.  4to.  Black  letter.  British  Museum.  Also, 


MANNERS  AND  MORALS  475 


1876.  Sm.  4to.  The  Complete  Works  in  Prose  and  Verse  of 
Nicholas  Breton.  Part  xxii.  The  Chertsey  Worthies  Library. 
A.  B.  Grosart.  Peabody  Institute  Library,  Baltimore. 

Dedicated,  "To  the  Right  Worshipfull  the  louer  of  all  good 
spirites,  and  nourisher  of  all  good  studies,  John  Linewray, 
Esquier  Master  Surueior  Generall  of  all  her  Maiesties  Ordi- 
nance." 

In  the  dedicatory  letter,  Breton  describes  the  dialogue  as 
follows,  — 

"under  the  Title  of  the  Dignitie  or  Indignitie  of  Man,  are 
discoursed  many  necessary  points  to  be  considered  of,  as  well 
for  the  outward  as  the  inward  parts:  wherein  it  may  be  you 
shall  finde  pleasant  wittes  speake  to  some  purpose,  no  Ma- 
chauilian  pollicies,  nor  yet  idle  fables,  no  straunge  Riddles, 
nor  vaine  libelling  ballades,  but  quicke  spirits  whetting  their 
braines,  to  she  we  the  edge  of  their  inuentions:  and  not  to  be 
tedious  in  my  Preface  before  you  come  to  the  matter,  you  shall 
finde  in  summe,  that  true  worth,  wherein  lieth  the  whole 
matter,  that  only  maketh  the  worthie  or  unworthie  man,  and 
the  due  glorie  unto  God,  who  is  only  worthie  of  all  honour, 
and  of  all  men:  the  greatest  part  of  this  booke  was  in  Italian, 
dedicated  to  a  man  of  much  esteeme  in  the  Dukedome  of 
Florence,  and  this  booke  in  this  our  Language,  I  haue  thought 
good  here  in  England,  to  present  to  your  worthinesse,  of  a  bet- 
ter worke  in  this  her  Maiesties  Roy  all  Tower  of  London." 

389 

1605.  The  Dumbe  Divine  Speaker;  or,  dumbe  speaker  of 
Divinity.  A  .  .  .  treatise  in  praise  of  silence:  shewing  both  the 
dignitie,  and  defectes  of  the  tongue  .  .  .  translated  by  A.  M. 

For  W.  Leake.  London.  1605.  4to.  British  Museum. 

Translated  from  Jacopo  Affinati  d'  Acuto,  — 

II  muto  che  parla,  dialogo,  oue  si  tratta  delV  eccellenze  e  de 
difetti  delta  lingua  humana,  e  si  spiegano  piil  di  190  concetti 
scritturali  sopra  il  sileiitio,  etc. 

Venetia.  1606.  8vo.  British  Museum. 


476  ELIZABETHAN  TRANSLATIONS 


390 

1606.  A  discourse  of  CivUl  Life:  containing  the  Ethike  part 
of  M  or  all  Philosofhie^jitfor  instructing  a  gentleman  in  the  course 
of  a  vertuous  life.  [By  Lodowick  Bryskett.] 

London.  For  William  Apsley.  1606.  4to.  Pp.  279.  British 
Museum.  Also,  London.  For  E.  Blount.  1606.  4to.  British 
Museum.  The  second  edition  is  a  duplicate  of  the  first  with 
only  the  difference  of  the  printer's  name. 

This  work  is  described  by  the  author  as,  "Written  to  the 
right  honorable  Arthur,  late  Lord  Grey  of  Wilton,"  who  had 
died  October  14,  1593;  it  is  dedicated  to  *'his  singular  good 
Lord,  Robert  Earl  of  Salisbury." 

Lodowick  Bryskett,  quaintly  said  to  be  the  son  of  "a 
natural  Italian,"  after  being  educated  at  Trinity  College, 
Cambridge,  became  clerk  of  the  council  in  Ireland,  under  Sir 
Henry  Sidney.  He  accompanied  Sir  Henry  Sidney's  son, 
Philip  Sidney,  as  "gentleman  attendant,"  on  a  three  years' 
continental  tour  through  Germany,  Poland,  and  Italy  (1572- 
75),  and  upon  his  return  was  made  clerk  of  the  chancery  for 
the  faculties  in  Ireland,  an  office  in  which  he  was  succeeded 
by  Edmund  Spenser. 

A  Discourse  of  Civill  Life,  after  the  manner  of  Italian  books 
on  social  ethics,  is  supposed  to  record  the  conversation  of  a 
party  of  friends  who  met  at  Bryskett's  cottage,  near  Dublin. 
Some  of  the  gentlemen  present  were  Dr.  Long,  Primate  of  Ar- 
magh, Sir  Robert  Dillon,  Knight,  M.  Dormer,  the  Queen's 
solicitor,  Captain  Warham  St.  Leger,  "M.  Edmond  Spenser, 
late  your  Lordship's  Secretary,  and  Th.  Smith,  Apothecary." 

After  some  general  conversation,  and  leading  up  to  his 
theme,  Bryskett  says  he  envies  "the  happiness  of  the  Italians 
who  have  in  their  mother  tongue  late  writers  that  have  with  a 
singular  easy  method  taught  that  which  Plato  or  Aristotle 
have  confusedly  or  obscurely  left  written."  Giraldi  is  mentioned 
as  one  of  three  "late  writers"  who  had  popularized  moral 
philosophy.  Addressing  Spenser,  Bryskett  entreats  the  poet  to 


MANNERS  AND  MORALS  477 


turn  his  great  knowledge  of  philosophy  to  such  an  account, 
and  to  begin  by  entertaining  his  friends  with  a  philosophi- 
cal lecture  on  the  spot.  Spenser  declines,  on  the  ground  that 
he  had  "  already  undertaken  a  work  tending  to  the  same  effect, 
which  is  in  heroical  verse  under  the  title  of  a  Faerie  Queene." 
But,  he  goes  on,  *'I  have  scene  (as  he  knoweth)  a  translation 
made  by  himselfe  out  of  the  Italian  tongue  of  a  dialogue  com- 
prehending all  the  Ethike  part  of  Moral  Philosophy,  written  by 
one  of  those  three  he  formerly  mentioned,  and  that  is  by  Giraldi 
under  the  title  of  a  dialogue  of  ciuil  life." 

Giraldi  Cintio's  three  dialogues  on  the  training  of  children 
and  youth  were  widely  known  to  Elizabethan  readers  of  Italian, 
because  they  were  published  with  the  novels  of  the  Hecatom- 
mithi,  which  were  themselves  set  forth  on  the  title-page  as  aids 
to  right  living. 

Hecatommithi,  ouero  Cento  Novelle  di  M.  Giovanbattista 
Giraldi  Cinthio  nobile  Ferrarese:  Nelle  quali,  oltre  le  dilleteuoli 
materiey  si  conoscono  moralita  utiliss-ime  a  gli  huomini  per  il  ben 
viuere;  &  per  destare  altresi  V  intelletto  alia  sagacita.  Potendosi 
da  esse  con  facilita  apprendere  il  vero  modo  di  scriuere  Toscano. 
Et  vi  sono  tre  Dialoghi  della  Vita  Civile,  li  quali  a  gli  huomini 
mostrano  come  deuono  ammaestrare  i  loro  figliuoliy  &  a  giouani 
come  ben  reggersi. 

In  Venetia,  appresso  Fabio  &  Agostin  Zoppini  Fratelli. 
MDLXXX.  2  volumes.  4to.  (4th  edition.  First  edition.  Monte 
Regale.  1565.  2  volumes.  8vo.) 

The  speakers  in  Cintio's  Three  Dialogues  are  Fabio,  Lelio, 
and  Torquato,  gentlemen  of  Rome,  and  Giannettino  d'  Oria, 
a  Genoese  nobleman.  Bryskett's  idea  in  translating  was  to 
set  his  version  in  a  dialogue  among  friends  of  his  own,  partly  in 
introduction,  and  partly  by  way  of  comment  on  the  various 
philosophical  questions  discussed.  The  English  dialogue  in- 
terspersed is  interesting,  because  it  introduces  Spenser  as  one 
of  the  interlocutors,  and  because,  whether  it  is  imaginary  or 
not,  it  is  based  on  personal  knowledge  of  men  who  were  en- 
gaged with  Bryskett  in  the  common  task  of  governing  and 


478  ELIZABETHAN  TRANSLATIONS 


civilizing  Ireland.  Spenser's  Amoretti,  xxxiii,  is  addressed  to 
Lodowick  Bryskett  by  name,  and  is  an  apology  for  the  delay 
in  completing  The  Faerie  Queene. 

Gabriel  Chappuys  made  a  French  translation  of  the  Heca- 
tommiihi  and  the  Tre  Dialoghi,  probably  from  this  Venetian 
edition.  Both  were  published  in  Paris,  by  Abel  TAngelier, 
but  separately,  the  Hecatommithi  in  two  volumes,  octavo,  in 
1583  or  1584.  The  French  title  of  the  Dialogues  reads,  — 

Dialogues  philosophiqueSf  italiens-frangoisy  touchant  la  vie 
civile,  contenant  la  nourriture  du  premier  age,  Vinstruction  de  la 
jeunesse,  et  de  Vhomme  propre  a  se  gouverner  soymesme,  traduits  des 
trois  excellens  dialogues  di  Giraldi  Cinthien,  par  Gabr.  Chappuys, 

Paris.  Abel  I'Angelier.  1583.  12mo. 

With  Colin  Clouts  Come  Home  Againe,  in  1595,  Spenser  pub- 
lished Astrophel,  together  with  a  series  of  elegiac  poems  on  the 
death  of  Sidney.  Two  of  the  elegies  were  contributed  by 
Bryskett,  The  Mourning  Muse  of  Thestylis,  and  A  Pastorall 
Aeglogue  upon  the  Death  of  Sir  Phillip  Sidney,  Knight,  etc. 
W.  P.  Mustard  has  shown  that  The  Mourning  Muse  of  The- 
stylis  is  a  paraphrase  of  Bernardo  Tasso's  Selva  nella  morte  del 
Signor  Aluigi  da  Gonzaga,  and  that  the  Pastorall  Aeglogue 
paraphrases  Tasso's  first  eclogue,  Alcippo. 

See  Lodowick  Bryshet  and  Bernardo  Tasso,  in  The  American 
Journal  of  Philology,  Vol.  xxxv,  2,  1914. 

391 

[1606.]  Prohlemes  of  Beautie  and  all  Humane  Affections, 
Written  in  Italian  by  Tho,  Buoni  cittizen  of  Lucca.  With  a  dis- 
course of  Beauty  by  the  Same  Author,  Translated  into  English 
hy  /S.[amson]  X.[ennard]  Gent. 

London.  G.  Eld,  for  E.  Blount  and  W.  Aspley.  [1606.]  12mo. 
British  Museum, 

A  translation  of  Tommaso  Buoni's 

I  Problemi  delta  Bellezza  di  tutti  gli  effetti  humani:  con  un  dis* 
corso  delta  bellezza  del  medesimo  autore, 
Venetia,  1605.  12mo.  British  Museum, 


MANNERS  AND  MORALS  479 


Samson  Lennard  accompanied  Sir  Philip  Sidney  to  the 
Netherlands,  and  was  with  him  when  he  received  his  fatal 
wound  at  the  battle  of  Zutphen,  in  1586.  He  subsequently 
entered  the  Herald's  College,  and  died  in  1633,  as  Bluemantle 
pursuivant. 

392 

1607.  Ars  AuUca  or  the  Courtiers  Arte.  [Quotations  and 
motto,  Felice  chi  puo.] 

London.  Printed  by  Melch.  Bradwood  for  Edward  Bloimt. 
1607.  12mo.  British  Museum. 

Dedicated  to  the  Herbert  brothers,  William,  Earl  of  Pem- 
broke, and  Philip,  Earl  of  Montgomery. 

Translated,  by  Edward  Blount,  from  Lorenzo  Ducci's 

Arte  Aulica  .  .  .  nella  quale  s'  insegna  il  modo  che  deve  tenere  il 
Cortegiano  per  devenir  possessore  delta  gratia  del  suo  Principe. 

Ferrara.  1601.  8vo.  British  Museum. 

393 

1637.  Curiosities:  or  the  Cabinet  of  Nature:  containing  Phylo- 
sophicaly  Naturally  and  Morall  questions  fully  answered.  .  .  . 
Translated  out  of  Latin,  French  and  Italian  Authors,  by  R. 
B. [asset]  Gent.  Never  before  published. 

N.  &  I.  Okes.  London  1637.  12mo.  British  Museum. 

394 

1904-05.  The  Nobility  of  Women.  By  William  Bercher,  1559, 
Now  for  the  first  time  edited,  with  Introduction  and  Notes,  by  R. 
Warwick  Bond. 

1904-05.  Folio,  with  plates.   2  vols.   (Roxburghe  Club.) 

"As  for  the  book  and  its  sources,  Mr.  Bond  has  been  more 
successful  in  his  search.  The  ultimate  source  he  traces  to  two 
independent  works,  Cornelius  Agrippa's  Declamation  on  the 
Nobility  of  Women,  delivered  in  1509,  but  only  published  in 
1529,  and  Capella's  Delia  Eccellenza  et  Digniia  delle  Donne, 
published  in  1525.  From  these  works  and  other  sources,  such 


480  ELIZABETHAN  TRANSLATIONS 


as  Castiglione  and  Dolce,  Lodovico  Domenichi  published  in 
1549  La  Nobilta  delle  Donne,  from  which  Barker  translated, 
with  adaptations,  his  work.  The  only  step  in  Mr.  Bond's  rea- 
soning at  all  weak  is  his  inability  to  prove  the  publication  of  the 
Italian  translation  of  Agrippa  before  1549.  As  a  matter  of  fact, 
two  editions  were  printed  before  that  date,  1544  and  1545, 
which  are  described  in  [Salvatore]  Bongi  (Indice  e  Catalogi, 
xi).  Vol.  I,  p.  76  (1890).  Haym  [Niccolo  Francesco  Haym, 
Biblioteca  Italiana,  1771-73,  2  vols.]  states  the  author  of  the 
translation  to  have  been  Francesco  Coccio." 

The  Declamation  of  Heinrich  Cornelius  Agrippa,  of  Nettes- 
heim,  is  said  to  have  been  written  at  the  instance  of  Margaret  of 
Austria  (1480-1530),  sister  of  Charles  V,  Duchess  of  Savoy,  and 
Regent  of  the  Netherlands  (1507-30).  It  is  entitled,  — 

De  nobilitate  et  praecellentia  foeminei  sexus  declamatio. 

Antuerpiae.  Mich.  Hellenius.  1529.  8vo. 

French  translations  of  Agrippa's  Declamation,  — 

Declamatio  de  la  noblesse  et  pre-eccellence  du  sexe  fSminin. 

Anvers,  chez  Martin  VEmpereur.  1530.  8vo.  Also,  1537. 

Lyon.  Fr.  Juste.  1537.  16mo. 

Paris.    Denis  Janot.  n.  d.  16mo. 

1578.  16mo.  Translated  by  L.  Vivant. 

De  la  Grandeur  et  de  V Excellence  des  Femmes  au-dessus  des 
Hommes.  Ouvrage  compose  en  Latin,  ,  ,  ,  et  traduit  en  Franqois, 
avec  des  notes  curieuses  et  la  vie  d' Agrippa.  Par  J.  d'Arnaudin. 

Paris.  1713.  12mo.  British  Museum. 

De  Incertitudine  et  Vanitate  Scientiarum,  declamatio  invectiva. 

Antuerpiae.  Joann.  Graphaeus.  1530.  4to.  Also,  Paris, 
1531,  1532,  1537,  and  1539.  8vo. 

Et  cum  praecellentia  feminei  sexus  super  virilem;  et  de  Sacra- 
mento matrimonii. 

1622.  12mo.  Lugd.  1644.  12mo. 

H.  C.  A.  sur  la  noblesse  <Sc  excellence  du  sexe  feminin,  de  sa 
pre-Sminence  sur  Vautre  sexe,  &  du  sacrement  du  mariage. 
Avec  le  traite  sur  Vincertitude  des  sciences  et  des  arts;  ouvrage 
traduit  par  [Pier]  de  Guendeville. 


MANNERS  AND  MORALS  481 


Leyden.  1726.  8vo.  3  volumes.  British  Museum. 

De  Vexcellence  .  ,  .  de  la  femme  au-dessus  de  Vhomme. 
Ouvrage  traduit  du  latin  ,  .  .  avec  les  commentaires  de  Ro6titg 
(Frangois  Peyrard). 

Paris.  1801.  12mo.  British  Museum. 

English  translations  of  Agrippa,  are  — 

A  Treatise  of  Nobility. 

London.  1542.  4to. 

The  Eccellency  of  Womenkind. 

London.  1542.  4to. 

Both  by  David  Clapham. 

The  Glory  of  Women;  or  a  treatise  declaring  the  excellency  and 
preheminence  of  women  above  men.  Translated  into  English  by 
Edward  Fleetwood,  Gent. 

London.  1652.  4to.  British  Museum. 

The  Glory  of  Women;  or,  a  looking-glasse  for  ladies.  Translated 
into  prose,  but  now  turned  into  English  heroicall  verse,  by  H. 
C[are],  Gent. 

London.  1652.  12mo.  British  Museum. 

Female  Pre-eminence;  or,  the  dignity  and  excellency  of  that  sex 
above  the  male.  Done  into  English,  with  additional  advantages. 

London.  1670.  8vo.  British  Museum. 

By  Henry  Care,  with  a  fulsome  dedication  to  Queen  Cath- 
erine. 

Galeazzo  Flavio  Capella,  or  Capra,  wrote  — 
Delia  Eccellenza  et  Dignita  delle  Donne. 
Stampato  in  Roma  nelV  anno  m.d.xxv.  4to. 
Lodovico  Dolce  wrote  on  the  subject,  — 
Dialogo  .  .  .  delta  Institutione  delle  Donne.    Secondo  li  tre 
stati,  che  cadono  nella  vita  humana. 
Venice.  1545.  8vo.  British  Museum. 
Lodovico  Domenichi's  book  is,  — 
La  Nobilta  delta  Donne. 

Venezia.  Giolito.  1549.  8vo.  British  Museum.  1551.  8vo. 
British  Museum.  1554.  8vo. 
Francesco  Angelo  Coccio,  who  is  stated  by  Haym  to  have 


482  ELIZABETHAN  TRANSLATIONS 


translated  Agrippa  into  Italian  in  1544  and  1545,  was  the 
author  of  two  works,  — 

Cehete  Thebano,  che  in  una  tavola  dipinta  .  .  .  mostra  le 
qualith  de  la  vita  humana.  Dialogo  ridotto  di  Greco  in  volgare 
[by  Francesco  Angelo  Coccio]. 

1538.  8vo.  British  Museum. 

Gli  amori  di  Leucippe  e  Clitofonte  di  Achille  Tazio,  volgariz- 
zati  da  A.  C.  Collezione  degli  Erotici  Greci,  etc. 
Vol.  I.  1814,  etc.  8vo.  British  Museum, 
Venice,  1550;  Florence,  1617.  8vo. 

"The  scene  of  Bercher's  book  is  Petriolo,  a  little  watering- 
place  some  twenty-two  miles  from  Siena.  Among  the  invalids 
there  was  *the  ladye  Philida,  Countesse  of  Elcie,'  whom  all 
the  company  conspired  to  amuse.  At  a  meeting  in  her  rooms 
one  evening,  after  they  *had  begonn  to  singe  Ytalyan  versis, 
and  daunce  after  theyr  maner,'  the  Countess  suggested  that  an 
impromptu  discussion  of  the  night  before,  between  Orlando  and 
Camillo,  should  be  resumed  formally.  Messer  John  Borghese, 
*made  the  lorde  of  the  bath  for  the  tyme,'  agreed,  observing, 
*yt  maketh  no  matter  what  we  saye  of  you,  for  whatsoever  we 
saye,  in  the  ende  we  ar  fayne  to  doe  as  ye  will.*  From  this 
point  the  discussion  runs  on  merrily  for  some  seventy  pages; 
women  are  praised  for  all  their  good  qualities,  and  excused  for 
their  bad  ones,  it  being  more  than  hinted  that  Hippolytus  and 
Savonarola  deserved  all  they  got,  while  Camillo,  the  advocatus 
diaholiy  lets  them  off  very  easily  in  view  of  the  strength  of  his 
case  and  the  unprincipled  lengths  to  which  Orlando  went  in  his 
praise.  An  English  visitor,  on  being  appealed  to,  adds  the 
names  of  a  bevy  of  blue-stockings  to  those  already  known  to  us, 
and  the  Countess,  observing  sagely  that  it  is  late,  and  they  are 
at  the  baths  for  their  health,  sends  them  off  to  bed,  with  the  dis- 
cussion imsolved."  (The  Athenaeum,  No.  4015,  October  8, 
1904.) 

See  Epitaphia  et  Inscriptiones  (1566),  and  The  Fearfull 
Fansies  of  the  Florentine  Couper  (1568). 


xn 

ITALIAN  AND  LATIN  PUBLICATIONS  IN  ENGLAND 


XII 


ITALIAN  AND  LATIN  PUBLICATIONS  IN  ENGLAND 

Italian 
1552-1645 

395 

1552.  II  Pellegrino  Inglese  ne  7  quale  si  defende  V  innocente 
&  la  sincera  vita  de  7  pio  &  religioso  re  d'  Inghilterra  Henrico 
Ottavo  bugiardamenie  caldniato  da  Clemeie  VII.  &  da  gV  altri 
adulatori  de  la  Sedia  Antichristiana. 

[Venice  ?]  1552.  8vo.  British  Museum. 

When  the  news  of  the  death  of  Henry  VIII  reached  Italy, 
in  February,  1546-47,  William  Thomas  was  at  Bologna,  where 
in  a  discussion  with  some  Italian  gentlemen,  he  defended  the 
personal  character  and  public  policy  of  the  King.  Subsequently 
he  drew  up  an  account  of  the  discussion  and  published  it,  in 
Italian,  probably  at  Venice.  Thomas  also  wrote,  but  did  not 
publish,  an  English  version,  and  a  copy  of  this,  possibly  a 
holograph,  is  preserved  among  the  Cottonian  MSS.  in  the 
British  Museum  (Vespasian.  D.  18);  the  Harleian  collection 
contains  a  later  transcript  (vol.  cccLin,  ff.  8.  36);  while  there 
is  a  third  copy  in  the  Bodleian  Library,  Oxford  (Xo.  53). 

Very  likely  in  ignorance  of  Thomas's  own  Enghsh  version, 
Edward  Brown  of  Christ's  College  in  Cambridge,  made  an 
independent  translation  which  he  intended  to  publish  in  the 
third  voliune  of  his  Fascictdus.  Anthony  a  Wood  (Athenae 
Oxonienses)  quotes  a  letter  from  Brown,  dated  August  15, 1690, 
giving  this  account  of  The  Pilgrim,  — 

*'iMr.  Chiswell,  I  am  upon  printing  a  book  that  I  have  in  my 
hbrary  of  which  I  find  the  lord  Herbert  and  my  lord  bishop  of 


486  ELIZABETHAN  TRANSLATIONS 


Salisbury  that  now  is,  have  made  frequent  use  in  their  histories, 
and  which  deserves  to  be  better  known  than  now  it  is.  The 
title  is  this : 

"7Z  pelegrino  Inglese^  or  a  Discourse  that  passed  between  Sir 
William  Thomas,  an  English  gentlemen,  and  some  Italians  at 
Bologna,  a  hundred  and  forty  years  ago,  concerning  Henry  the 
eigth.  King  of  England,  and  the  affairs  of  those  times.  Wherein 
the  said  Sir  William  defends  the  innocent  and  sincere  life  of  K. 
Henry  the  eighth,  from  ye  lies  and  slanders  of  Pope  Clement  ye 
seaventh,  and  other  flatterers  of  the  seat  of  Antichrist.  Translated 
exactly  from  ye  old  Italian  copy  printed  in  ye  year  M.D.LI  I.  By 
E.  B.  Rector  of  Sundridge  in  Kent.^^ 

Brown's  translation  is  preserved  in  the  Bodleian  Library 
(Tanner  MS.,  No.  303). 

The  dialogue  was  first  published  in  English,  together  with 
Thomas's  political  papers,  also  in  the  Cottonian  collection,  by 
Abraham  D'Aubant,  under  the  title.  The  Works  of  William 
Thomas.  (London.  1774.  8vo.)  The  Harleian  manuscript  was 
edited  by  J.  A.  Froude,  entitled,  — 

The  Pilgrim:  a  Dialogue  on  the  Life  and  Actions  of  King 
Henry  Eighth:  Edited  with  Notes  from  the  Archives  at  Paris  and 
Brussels,  by  J.  A.  Froude. 

1861.  Svo.  British  Museum. 

396 

[1553  ?]  Cathechismo,  doe  forma  breve  per  amaestrare  i  fan- 
ciulli:  La  quale  di  tutta  la  christiano  disciplina  cotiene  la  som- 
ma.  .  .  ,  Tradotta  di  Latino  in  lingua  Thoscana  per  M.  A. 
[Michael  Angelo]  Florio. 

[London  (?)  1553  (?)]  Svo.  British  Museum. 

The  Latin  original  of  this  Protestant  catechism  is,  — 

Catechismus  pro  pueris  et  Juventute  in  ecclesiis  et  ditione.  .  .  . 
Marchionum  Brandenborgensium,  et  inclyti  senatus  Norimber- 
gensis,  breviter  conscriptus,  e  Germanico  Latine  redditus  per 
J.[ustus]  Jonam.  Addita  epistola  de  laude  Decalogi, 

1539.  Svo.  British  Museum. 


ITALIAN  AND  LATIN  PUBLICATIONS  487 


Florio's  title  apparently  translates  Archbishop  Cranmer's 
EngHsh  one,  — 

Catechismus.  That  is  to  say;  a  shorte  Instruction  into  Chris- 
tian Religion  for  the  Synguler  commoditie  and  profyte  of  childre 
and  yong  people.  Set  forth  by  .  .  .  Thomas  Archbyshop  of 
Canterbury.  [Translated  from  a  Latin  work,  which  was  itself 
a  translation  from  the  German,  made  by  Justus  Jonas.]  With 
woodcuts  fram  designs  by  Holbein. 

Gualter  Lynne.  London.  1548.  8vo.  Black  letter.  British 
Museum. 

Dedicated  to  King  Edward  VI. 

Michael  Angelo  Florio,  father  of  John  Florio,  was  a  Floren- 
tine originally  from  Siena,  who  fled  to  England  from  the  per- 
secution of  the  Waldenses  in  the  Valtelline  shortly  before  the 
accession  of  Edward  VI.  He  was  patronized  by  both  Arch- 
bishop Cranmer,  and  Sir  William  Cecil,  in  whose  house  he  lived 
for  some  time.  In  1550,  he  was  pastor  of  a  congregation  of 
Italian  Protestants  in  London.  His  most  interesting  work  is  a 
biography  of  Lady  Jane  Grey. 

See  Historia  de  la  Vita  e  de  la  Morte  de  V  illustrissima  Signora 
Giovanna  Graia.  (1607.) 

397 

1566.  Espositione  di  Giovanni  Battista  Agnello  Venetiano 
sopra  un  librOy  intitolato  Apocalypsis  spiritus  secreti.  [With  the 
Apocalypsis'*  prefixed.] 

Giovanni  Kingston  a  instancia  di  P.  Angelino.  Londra.  1566. 
4to.  British  Museum, 

398 

[1580?]  Una  essortazione  al  Timor  di  Dio,  con  alcune  rime 
italianCy  nuovamente  messe  in  luce  [da  G.  B.  Castiglione].  [At- 
tributed to  Jacobus  Acontius.] 

Londra,  appresso  Gio.  Woljio,  senzi  anno,  [1580?]  8vo. 
British  Museum, 

Dedicated  to  Queen  Elizabeth,  by  Giovanni  Battista  Cas- 


488  ELIZABETHAN  TRANSLATIONS 


tiglione,  the  queen's  master  of  Italian,  and  groom  of  the 
privy  chamber,  to  whom  Jacopo  Aconcio  left  his  papers. 

399 

1581.  La  Vita  di  Carlo  Magno  Imperadore,  scritta  in  lingua 
Italiana  da  Petruccio  Ubaldino  Cittadin  Fiorentino. 

Londra:  Appresso  Giouanni  Wolfio  Inghilese.  1581.  Sm.  4to. 
Pp.  125,  A  through  Q.  British  Museum  (2  copies).  [Oxford?] 
1599.  4to.  British  Museum.  (Didot-Hoefer's  Biographie  Gen- 
erate says  that  the  Oxford  edition  was  printed  in  1589.) 

Dedicated,  "^4  i  Nobili,  et  Illustri  Signoriy  et  Magnanimi 
Caualieri  &  altri  gentiV  huomini  delta  natione  Inghilese  Petruc- 
cio Ubaldino  Cittadin  Fiorentino  Desira  perpetua  lode  d'  ogni 
loro  honor ata  attione." 

The  copy  of  La  Vita  di  Carlo  Magno  Imperadore,  belonging 
to  the  late  Mr.  J.  Dewitt  Miller,  was  sent  to  me,  from  Chicago, 
in  1903,  for  examination.  I  found  the  little  quarto  perfect, 
although  showing  the  marks  of  time.  These  marks  were  three: 
all  the  bands  but  one  were  loosened  from  the  back;  the  clasps 
were  gone;  and  a  bookworm  had  enhanced  the  romantic  in- 
terest of  the  life  of  Charlemagne  by  journeying  through  the 
wide  margins  from  the  back  cover  forwards,  through  end- 
papers and  signatures  to  Signature  E.  The  book  was  bound  in 
limp  white  vellum  and  illuminated  in  gold,  front  and  back. 
On  the  fly-leaf,  opposite  the  title-page,  there  was  inscribed,  in 
beautiful  Italian  script :  — 

Air  Ilir  et  EccT  il  Sig^ 
Conte  di  LecestriorS 
Petruccio  Ubaldino,  in  riconoscenza 
dicerta,  et  no'  mai  dimenticata  obligatio: 
ne\  et  di  douuta  humilta  desidera 
prosperita. 

On  the  title-page,  under  the  date,  there  was  the  signature, 
*EHzabeth  R,'  supposedly  in  old  English  script.  There  was 
pasted  on  the  inside  of  the  front  cover  the  book-plate  of  the 
Right  Honorable  Charles  Bathurst,  Lydney  Park. 


ITALIAN  AND  LATIN  PUBLICATIONS  489 


I  was  asked  my  opinion  of  the  genuineness  of  the  inscription 
and  the  signature.  Of  the  inscription  I  had  no  doubt  whatever, 
but  there  had  come  into  my  hands  the  unique  exemplar  pre- 
sented by  the  author  and  illuminator  to  the  Earl  of  Leicester. 
Of  the  royal  signature,  I  had  every  doubt.  I  advised  that  the 
book  be  sent  to  the  British  Museum  for  expert  examination  of 
Queen  Elizabeth's  signature.  This  was  done  through  Mr. 
W.  M.  Voynich,  who  confirmed  my  opinion  on  both  points,  that 
the  book  had  been  the  Earl  of  Leicester's  autograph  copy,  and 
that  the  signature  on  the  title-page  was  not  that  of  Queen 
Elizabeth. 

Mr.  Voynich  added  a  note  on  the  binding,  —  "  The  binding  is 
exceedingly  rare,  and  one  of  the  earliest  specimens  of  this  kind 
used  in  England.  There  is  no  such  specimen  in  the  British 
Museum." 

400 

158L  A  Brief  e  Discourse  of  Royall  Monarchie,  as  the  best  Com- 
mon-Weale:  wherein  the  subiect  may  beholde  the  Sacred  Majestie 
of  the  Princes  most  Royall  Estate:  written  by  Charles  Merbury, 
Gentleman,  in  duetifull  Reuerence  of  Her  Majesties  Most  Princely 
Highnesse:  Whereunto  is  added  by  the  same  Pen  a  Collection  of 
Italian  Prouerbes  in  Benefite  of  such  as  are  studious  of  that  Lan- 
guage. 

T.  Vautrollier.  London.  1581.  4to.  British  Museum  (2 
copies). 

The  Proverbes  have  a  distinct  pagination  and  title-page, 
which  reads,  — 

Proverbi  vulgaris  raccolti  in  diversi  luoghi  d'  Italia,  etc. 

Prefixed  to  this  work  is  the  note,  "Approbation  of  Mr.  T. 
Norton,  counsellor  and  solicitor  of  London,  appointed  by  the 
bishop  of  London." 

A  dedication,  in  Italian,  to  Queen  Elizabeth,  is  followed  by 
a  commendatory  address  to  "the  Vertuous  reader,"  by  Henry 
Unton. 

Merbury's  Discourse  is  interesting  as  showing  the  opinion  of 
monarchy  in  Queen  Elizabeth's  time. 


490  ELIZABETHAN  TEANSLATIONS 


401 

1584.  La  Cena  de  le  Ceneri,  descritta  in  cinque  dialogic  etc, 
[By  Giordano  Bruno.] 

London.  1584.  8vo.  British  Museum, 

Dedicated  to  the  French  ambassador,  Michel  de  Castehiau, 
Sieur  de  la  Mauvissiere. 

*'  Bruno  tells  how,  on  the  evening  of  Ash  Wednesday,  the 
13th  of  February,  1584,  he  was  invited  by  Fulke  Greville  to 
meet  Sidney  and  others  in  order  that  they  might  hear  'the 
reasons  of  his  belief  that  the  earth  moves;  *  and  this  seems  to  have 
been  one  of  numerous  gatherings  —  a  revival  or  a  continua- 
tion, in  another  form  and  for  graver  purposes,  of  the  Areopagus 
of  1579.  *We  met,'  Bruno  says,  *in  a  chamber  in  the  house  of 
Mr.  Fulke  Greville,  to  discuss  moral,  metaphysical,  mathe- 
matical, and  natural  speculations.* "  (H.  R.  Fox-Bourne,  Sir 
Philip  Sidney,  (1891),  p.  292.) 

402 

1584.  6r.[iordano]  J5.[runo].  DeW  infinite  Universe  e  Mondi. 
Stampato  in  Venetia  [or  rather  London].  1584.  8vo.  British 
Museum. 

Dedicated  to  Michel  de  Castelnau,  Sieur  de  la  Mauvissiere, 
French  Ambassador. 

An  exposition  of  Brimo's  belief  that  the  universe  is  made  up 
of  an  infinite  number  of  worlds. 

403 

1584.  G.  Bruno  Nelano.  De  la  causa,  principie,  et  line,  etc. 
Stampato  in  Venezia  [or  rather  London].  1584.  8vo.  British 
Museum. 

Dedicated  to  Michel  de  Castelnau,  Sieur  de  la  Mauvissiere. 

In  his  trial  before  the  Venetian  Inquisitors  (1592),  Bruno 
gave  reasons  why  this  book,  and  the  six  others  printed  in  Lon- 
don between  1583  and  1584  bore  Venice  or  Paris  on  their  title- 
pages.  The  London  printer  was  VautroUier  who  had  to  flee  to 


ITALIAN  AND  LATIN  PUBLICATIONS  491 


Scotland  for  his  audacity.  See  The  Athenaeum,  April  30,  1898, 
No.  3679,  p.  562. 

"The  freshest  and  most  brilliant  of  Bruno's  philosophical 
writing:  *  a  dialogue  worthy  of  Plato,'  Moritz  Carriere  has  said." 
(J.  Lewis  Mclntyre,  Giordano  Bruno  (1903),  p.  38.) 

404 

1584.  Spaccio  de  la  Bestia  Trionfanie.  .  .  .  Consecrato  al 
molto  illustre  et  eccellente  Cavalliero  Sig.  Philippo  Sidneo.  [By 
Giordano  Bruno.] 

Stampato  in  Parigi  [or  rather  by  T.  Vautrollier,  London]. 
1584.  8vo.  British  Museum. 

Translated,  except  for  the  introductory  letter  to  Sidney,  as  — 

Sp.  dalla  Best.  Triom.y  or  The  Expulsion  of  the  Triumphant 
Beast. 

London.  1713. 

Attributed  to  William  Morehead  (1637-92),  nephew  of  Gen- 
eral Monck. 

The  Spaccio  de  la  Bestia  Trionfante,  or  Expulsion  of  the 
Triumphant  Beast,  is  an  allegory  set  forth  in  three  dialogues. 
The  gods  are  represented  as  resolving  to  banish  the  constella- 
tions out  of  heaven,  because  so  many  of  them  recorded  their 
loose  lives,  and  to  substitute  the  moral  virtues  in  the  firma- 
ment in  their  stead.  The  first  dialogue,  which  ostensibly 
censures  classical  mythology,  is  really  an  attack  on  all  forms 
of  anthropomorphic  religion.  This  is  the  gist  of  the  argument 
of  the  piece,  but  the  second  dialogue  is  the  most  important 
from  the  philosophical  point  of  view,  for  here  Bruno  discourses 
of  Truth,  Prudence,  Wisdom,  Law,  Universal  Judgment,  and 
the  other  moral  virtues  which  take  the  places  of  the  beasts. 
His  treatment  of  the  virtues  makes  clear  the  essence  of  his 
philosophy.  Truth,  he  explains,  is  the  unity  and  substance 
which  underlies  all  things;  Prudence,  or  Providence,  is  the 
regulating  power  of  truth,  and  includes  at  once  liberty  and 
necessity;  Wisdom  is  Providence  itself  in  its  supersensible 
aspect,  in  man,  it  is  reason  which  grasps  the  truth  of  things; 


492  ELIZABETHAN  TRANSLATIONS 


Law  naturally  proceeds  from  Wisdom,  for  every  good  law  must 
be  rational,  and  have  for  its  object  the  welfare  of  all;  by  Uni- 
versal judgment  men  are  judged  with  absolute  justice,  by  their 
actual  deeds,  not  by  their  religious  beliefs,  which  may  or  may 
not  make  for  righteousness. 

Many  of  Bruno's  ideas  have  aflSnities  with  the  philosophy 
of  Spinoza,  but  the  bold,  mocking  spirit  of  the  Italian  gives 
a  character  to  the  Spaccio  that  is  all  its  own.  Bruno  girds  at 
the  monks,  he  scoffs  at  the  mysteries  of  faith,  to  him  the  miracles 
are  *  magical  tricks,'  Jewish  record  and  Greek  myth  are  all  one. 
The  Roman  Catholic  Church  was  correct  in  recognizing  under- 
neath the  allegory  a  vehement  attack  on  the  established  re- 
ligion. 

In  many  respects  the  Spaccio  de  la  Bestia  Trionfante  is  the 
most  remarkable  work  of  Bruno  as  it  is  decidedly  the  most 
popular.  One  phase  of  its  popularity  is  especially  interesting 
to  English  readers;  it  is  the  source  of  Thomas  Carew's  masque, 
Coelum  Britannicum,  acted  at  Whitehall  by  King  Charles  I 
and  the  noblemen  of  his  Court,  on  Shrove  Tuesday  night,  Feb- 
ruary 18,  1633.  The  masque  was  written  in  compliment  to 
King  Charles  I  and  Queen  Henrietta  Maria,  praising  the  tem- 
perance, chastity,  and  justice  of  the  royal  pair. 

As  in  the  Spaccio,  Heaven  is  divested  of  its  gods  and  god- 
desses, in  whose  stead  shines  first  the  King,  "the  bright  Pole- 
starre  of  this  Hemispheare,"  by  his  side  his  "faire  Consort," 
and  a  "Noble  traine,  of  either  sexe";  — 

So  to  the  Brittish  stars  this  lower  Globe 
Shall  owe  its  light,  and  they  alone  dispence 
To  the  world  a  pure  refined  influence. 

The  closing  scene  of  the  masque  represents  the  moral  virtues, 
Religion,  Truth,  Wisdom,  Concord,  Government,  and  Re- 
putation, seated  on  clouds,  with  Eternity  on  a  Globe  in  their 
midst.  Fifteen  stars  express  fifteen  *  stellified  British  Heroes,' 
among  them  *  Prince  Arthur'  and  *the  brave  St.  George.' 


ITALIAN  AND  LATIN  PUBLICATIONS  493 


405 

1584.  Atto  della  Giustitia  Inghilterray  esseguitOy  per  la  con- 
servatione  della  commune  &  Christiana  pace,  contra  alcuni  semi- 
natori  di  discordie,  (Sc  seguaci  de  ribelli,  &  de  nemici  del  reame, 
&  non  per  niuna  persecutione,  che  fosse  lorfatta,  per  cagion  della 
religione:  si  come  e  stato  falsamente  puhlicato  da  defensori,  &  da 
sostentatori  della  costoro  rebellione,  &  tradimento.  Traslato 
d*  Inglese  [of  William  Cecil,  Lord  Burghley]  in  vulgare.  .  .  .  II 
25  di  Maggio,  1584,  etc. 

Appresso  G.  Wolfio.  Londra,  1584.  8vo.  British  Museum 
(2  copies). 

This  is  a  translation  of  the  first  part  of  Lord  Burghley's 
tract,  — 

The  Execution  of  Justice  in  England  for  maintenance  of  pub- 
lique  and  Christian  peace,  against  certeine  stirrers  of  sedition,  and 
adherents  to  the  traytors  and  enemies  of  the  Realme,  without  any 
persecution  of  them  for  questions  of  Religion,  as  is  falsely  reported 
and  published  by  the  fautors  and  fosterers  of  their  treasons. 
[By  William  Cecil,  Lord  Burghley.] 

London,  1583.  4to.  Black  letter.  British  Museum  copies) , 
Also,  1583,  4to,  a  second  imprint,  "with  some  small  altera- 
tions." 

Lord  Burghley's  Execution  of  Justice  was  also  printed  in  a 
Latin  translation  (T.  VautrouUerius,  Londini,  1584,  8vo),  and 
in  Dutch  (R.  Schilders,  Middelburg,  1584,  4to),  both  in  the 
British  Museum. 

This  is  one  of  the  many  public  documents  prepared  by  Lord 
Burghley,  and  its  being  translated  into  Italian,  Latin,  and 
Dutch  gives  an  idea  of  the  political  and  social  conditions  of  the 
time.  Lord  Burghley  wrote  with  ease  and  precision  in  Latin, 
French,  and  Italian. 

The  Cecil  Papers  at  Hatfield  House  contain  1290  documents 
which  were  prepared  either  by  William  Cecil  himseK  or  under 
his  immediate  direction. 


494  ELIZABETHAN  TRANSLATIONS 

406 

1585.  G.  Bruno  Nolano.  De  GV  Heroici  Furori,  Al  molto 
illustre  et  eccellente  CavallierOy  Signor  Philippo  Sidneo. 

Appresso  Antonio  Baio,  Parigi  [or  rather  by  T.  VautroUier, 
London].  1585.  8vo.  British  Museum, 

Translated  as  — 

The  Heroic  Enthusiasts:  An  Ethical  Poem.  Part  the  first. 
By  L.  Williams.  [The  Argument  or  Summary,  and  the  Apology 
of  Bruno  are  omitted.] 

G.  Redway.  London.  1887.  8vo.  Pp.  170.  British  Museum 
Catalogue.  Supplement. 

The  Introduction  is  compiled  chiefly  from  D.  Levi's  G.  Bruno 
o  la  religione  del  pensiero. 

Bruno  made  this  collection  of  sonnets,  with  illustrations  in 
prose,  on  the  Platonic  theme  that  the  world  and  all  that  is  in 
it  are  but  reflections  of  eternal  beauty,  that  the  soul  through 
love  may  rise  to  heavenly  furor^  an  ecstatic  unity  with  the 
divine  life. 

Thinking  of  the  similarity  of  Shelley  to  Bruno,  John  Owen, 
in  his  Skeptics  of  the  Italian  Renaissance,  compares  Gli  eroici 
furori  to  the  Hymn  to  Intellectual  Beauty,  and  the  Spaccio  de  la 
Bestia  Trionfante  to  Prometheus  Unbound.  Cicada,  one  of  the 
characters  in  the  dialogue,  Gli  eroici  furori,  says,  —  "How 
much  better  is  a  worthy  and  heroic  death  than  a  disgraceful 
and  vile  success."  "On  that  proposition,"  responds  the  poet 
Tansillo,  "I  composed  this  sonnet,"  whereupon  Bruno  bor- 
rows from  Tansillo  the  verses  which  have  been  generally  ac- 
cepted as  his  own  prediction  of  his  fate.  The  sestet  reads,  — 
Soaring  I  hear  my  trembling  heart's  refrain 

*' Where  bearest  me,  O  rash  one?  The  fell  steep 
Too  arduous  is  not  climb'd  without  much  pain." 

"Fear  not,"  I  answer,  "for  the  fatal  leap. 
Serene  I  cleave  the  clouds  and  death  disdain. 
If  death  so  glorious  heaven  will  that  I  reap." 


ITALIAN  AND  LATIN  PUBLICATIONS  495 


407 

1585.  Cabala  del  Cavallo  Pegaseo.  Con  V  aggiunta  dell  *Asino 
Cillenico,  etc.  By  Giordano  Bruno. 

Parigi  [or  rather  London].  1585.  8vo.  British  Museum. 

This  is  a  treatise  on  the  different  kinds  of  ignorance,  or  asin- 
ity,  whether  dogmatic  or  pedantic  or  purely  sceptical  and  im- 
inquiring.  Its  purpose  is  to  rouse  men  to  free  and  intelligent 
thought,  and  Bruno  wrote  it  as  "The  awakener  of  sleeping 
minds"  (dormitantium  animorum  excubitor  —  his  style  for  him- 
self in  his  letter  to  the  Vice-Chancellor  of  Oxford,  prefixed  to 
his  Spiegazione  di  trenta  sigilli,  1583) .  The  satirical  conclusion 
of  the  work  is,  that  asinity  is  the  highest  human  duty,  and  to 
it  is  assigned  divine  favor  both  in  this  world  and  the  next. 
Bruno's  warfare  with  dogma,  superstition  and  ignorance,  in  the 
Spaccio  de  la  Bestia  Trionfante  goes  on  in  the  Caballa  del  Cavallo 
Pegaseo.  In  this  sense  the  ideal  and  cabalistic  ass  is  the  Trium- 
phant Beast  of  Dogma  in  real  flesh  and  blood.  Hence,  and  it  is 
explained  with  many  particulars  as  to  asses  in  the  Old  and 
New  Testaments,  and  in  the  ancient  writers,  the  spiritual  and 
moral  ass  is  everywhere  as  much  esteemed  as  the  physical  and 
material  ass  is  appreciated  by  particular  communities.  A  cyni- 
cal sonnet  erects  asinity  into  a  saint  or  goddess,  — 
O  sainted  Asinity.  Ignorance  most  holy!  etc. 

408 

1585.  Dichiaratione  delle  caggioni  che  hanno  mosso  la  Serenis- 
sima  Reina  d'  Inghilterra  a  dar'  aiuto  alia  difesa  del  popolo 
afflitto  e  oppresso  negli  Paesi  Bassi.  (1  Oct.  1585.) 

Christofero  Barcher.  Londra,  1585.  8vo.  British  Museum, 

This  is  a  translation  of 

A  declaration  of  the  causes  mooving  the  Queene  of  England  to 
give  aide  to  the  defence  of  the  people  afflicted  and  oppressed  in  the 
lowe  Countries.  {An  addition  to  the  declaration  touching  the 
slaunders  published  of  her  Maiestie.  1  Oct.  1585.) 

C.  Barker.  London.  1585.  4to.  British  Museum. 


496  ELIZABETHAN  TRANSLATIONS 


Another  edition  in  the  same  year  (1585),  4to.  Barker  also 
printed  the  Declaration  in  Latin  and  in  French  (1585,  8vo), 
and  the  British  Museum  contains  two  copies  of  each. 

A  poUtical  tract  drawn  up  by  the  Lord  Treasurer  Burghley, 
dated,  "Richmond  the  1st  of  Octob.  27  regin.  Ehzabeth." 

409 

1585.  La  Vita  di  Giulio  Agricola,  scritta  da  Cornelio  Tacito 
et  messa  in  volgare  da  Giovanni  Maria  Manelli. 

Londra  nella  stamperia  di  Giovanni  Wolfio,  1585.  4to. 
Pp.  48.  British  Museum. 

Dedicated  to  Lord  Robert  Sidney. 

Tacitus's  hfe  of  Cnaeus  JuHus  Agricola,  Julii  Agricolae 
Vita,  done  into  Italian  and  published  in  London. 

410 

1587.  Examine  di  varii  Giudicii  de  i  Politici,  e  delta  Dottrina 
e  de  i  Fatti  de  i  Protestanti  veri  e  de  i  Cattolici  Romani. 

Londra  nella  Stamperia  di  Giouanni  Wolfio.  1587.  4to. 
(Lowndes.) 

411 

1591.  II  Pastor  Fido:  tragicomedia  pastorale  [in  five  acts  and 
in  verse].   {Aminta,  favola  boschereccia  del  S.  Torquato  Tasso.) 

Per  Giovanni  Volfeo,  a  spese  di  Giacopo  Castelvetri.  Londra. 
1591.  12mo.  British  Museum. 

This  is  the  fom-th  edition  of  Guarini's  famous  pastoral,  to- 
gether with  the  Aminta  of  Tasso,  edited  in  Italian,  for  Eng- 
lish readers.  It  appeared  eleven  years  before  the  first  English 
translation. 

See  II  Pastor  Fido  (1602),  by  Dymoke,  and  1647-48, 

by  Sir  Richard  Fanshawe. 

412 

1591.  Le  Vite  delle  Donne  Illustri.  Del  Regno  Inghilterray 
&  del  Regno  di  Scotia,  &  di  quelle,  che  d*  altri  paesi  ne  i  due  detti 
Regni  sono  stato  maritate,  etc.  [By  Petruccio  Ubaldini.] 


ITALIAN  AND  LATIN  PUBLICATIONS  497 


Giovanni  Volfio.  Londra.  1591.  4to.  British  Museum  (2 
copies);  also,  1601. 

413 

1591.  Giardino  di  ricreatione,  nel  quale  crescono  fronde  fiori  et 
fruttiy  vaghe  leggiadre  e  soave,  sotto  nome  di  sei  miglia  proverbi,  e 
piacevoli  rihiboli  italiani;  raccolto  da  Giovanni  Florio. 

Londra.  Th.  Woodcock.  1591.  4to. 

Dedicated  to  Master  Nicholas  Saunders  of  Ewell,  esq. 

A  collection  of  6150  proverbs,  all  in  Italian. 

A  manuscript,  inscribed  to  Sir  Edward  Dyer,  from  Oxford, 
12  November  1582,  is  in  the  British  Museum  (Addit.  MS. 
15214).  It  has  been  in  the  possession  successively  of  Oldys, 
Isaac  Heard,  and  B.  H.  Bright.  The  collection  is  "annexed" 
to  Florios  Second  Frutes,  of  the  same  year,  with  the  same  printer 
and  dedication. 

414 

1592.  Parte  prima  delle  brevi  dimostrationi,  et  precetti  utilis- 
simi  ne  i  quali  si  trattano  diversi  Propositi  morali,  politicly  et 
economiciy  che  convengono  ancora  ad  ogni  nobil  matrona^  etc. 
MS.  Notes. 

[London?]  1592.  4to.  British  Museum. 

A  book  of  proverbial  philosophy  by  Petruccio  Ubaldini. 

415 

1594.  Lo  Stato  delle  Tre  Corti.  Altrimenti:  Relationi  di  alcune 
Qualita  Politiche  con  le  loro  dipendenze  considerabili  appresso  di 
quei  che  dei  governi  delli  stati  si  dilettanOy  ritrovate  nelli  stati  delta 
Corte  Romanay  nel  Regno  di  Napoliy  et  nelli  stati  del  Gran  Duca  di 
Thoscana;  cagioni  secondo  la  natura  di  quelle  genti  sicurissimi 
delta  fermezza  di  quei  governi.   [By  Petruccio  Ubaldini.] 

London.  1594.  4to.  1597.  4to. 

416 

1595.  Alto.  Di  Tomaso  Morlei  II  primo  libro  delle  Ballate 
A  Cinque  voci. 


498  ELIZABETHAN  TRANSLATIONS 


In  Londra.  Appresso  Tomaso  Este.  cio.  lo.  xc.  v.  [1595.] 
4 to.  15  leaves.  British  Museum. 

Italian  version  of  Morley 's  The  First  Booke  of  Balletts  to  five 
voyces  (1595). 

417 

1595.  Scelta  di  alcune  attioni  e  di  varii  accidenti  occorsi  tra 
alcune  Nationi  Differ enti  del  Hondo;  cavati  delta  Selva  dei  casi 
diver  si. 

London.  1595.  4to. 

A  scrap-book  by  Petruccio  Ubaldini. 

418 

1596.  Rime.  Londra.  1596.  4to. 

Petruccio  Ubaldini,  the  author  of  these  verses  was  an  Italian 
Protestant  refugee  in  London,  who  supported  himself  by  teach- 
ing Italian  and  illuminating  books.  He  was  of  the  noble  Tuscan 
family  of  Ubaldini,  although  for  some  reason  he  does  not  seem 
to  have  been  known  in  England  by  that  name.  Ubaldini  was 
first  patronized  by  Henry  Fitzalan,  12th  Earl  of  Arundel,  and 
afterwards  by  King  Edward  VI,  who  took  him  into  his  service. 
Whatever  his  connection  with  the  Court  was,  it  seems  to  have 
been  continued  under  Elizabeth,  for  the  Huth  Library  con- 
tained a  Liber  precum  illuminated  by  him  and  bearing  the  royal 
monogram,  E.  R.,  surmounted  by  a  crown.  It  is  supposed  to 
have  belonged  to  the  Queen  and  to  have  been  presented  to  her 
by  the  author. 

See  La  Vita  di  Carlo  Magno  Imperadore  (1581). 

419 

1596.  Elizahetha.  Dichiaratione  delle  cause  che  hanno  indotta 
la.  ,  .  .  Reina  d'  Ingilterra,  di  preparare  &  mandare  sopra  il 
mare  una  Armata  per  la  difesa  de  i  suoi  Regni,  contra  le  forze 
d*  el  Re  di  Spagna^  etc. 

Stampato  per  le  Deputati  di  Christophero  Barker.  Londra. 
1596.  4to.  British  Museum. 


ITALIAN  AND  LATIN  PUBLICATIONS  499 


This  is  a  translation  of  a  political  pamphlet  issued  by  the 
Earl  of  Essex  and  Admiral  Howard  of  Effingham,  entitled,  — 

A  Declaration  of  the  Causes  moving  the  Queenes  Majestie  .  .  . 
to  prepare  and  send  a  Navy  to  the  Seas,  for  the  defence  of  her 
Realmes  against  the  King  of  Spaines  forces,  to  bee  published  by 
the  generals  of  the  saide  navy,  etc. 

By  the  Deputies  of  C.  Barker.  London.  1596.  4to.  Black 
letter.  British  Museum.  Also,  in  French,  Spanish,  and  Dutch, 
"By  de  Gedeputeerde  van  C.  Barker."  (London.  1596.  4to.) 
British  Museum. 

420 

1597.  Militia  del  Gran  Duca  di  Thoscana.  Capitoli,  ordini 
et  privilegii  delta  Militia  et  Bande  di  sua  Altezza  Serenissima 
prima  cost  ordinati  dalla  buona  et  felice  memoria  di  Cosimo 
Primo  Gran  Duca  di  Thoscana;  et  di  poi  corroborati  da  i  suc- 
cessori  suoi  flgliuoli  con  V  aggiunta  de  i  nuovi  capitoli  .  .  .  con- 
cessi  .  .  .  alia  nuova  militia  de  i  cavalli,  etc. 

[Londraf]  1597.  4to.  British  Museum. 

Dedicated,  from  London,  to  Queen  Elizabeth,  *'il  primo 
deir  anno  1597,"  by  Petruccio  Ubaldini. 

The  book  is  a  description  of  the  military  system  of  Tuscany. 

421 

1607.  Historia  de  la  Vita  e  de  la  Morte  de  V  illustriss.[midi] 
Signora  Giovanna  Graia,  gia  Regina  eletta  e  publicata  d' Ing- 
helterra:  e  de  le  cose  accadute  in  quel  regno  dopo  la  morte  del  Re 
Edoardo  VI.  Nella  quale  secondo  le  diuine  Scritture  si  tratta  dei 
principali  articoli  de  la  religione  Christiana.  Con  V  aggiunta 
d'  una  dottiss.[midi]  disputa  fatta  in  Ossonia  V  anno  155Jt..  {de  la 
real  presenzia  del  corpo  di  Christo  ne  V  Eucharistia;  fra  N.  Ridleo, 
et  un  gran  numero  di  Laureati  Papei  .  .  .  il  primo  de  quali  fu 
dottore  Smitho.  Letter e  e  ragionamenti  de  la  Signora  O.[iovanna] 
Graia,)   [By  Michael  Angelo  Florio.] 

Stampato  appresso  Richardo  Pittore  nel  anno  di  Christo. 
[London?  Catalogue  of  Early  English  Books  —  to  1640.]  1607. 


500  ELIZABETHAN  TRANSLATIONS 


Sm.  8vo.  Pp.  1-378.  British  Museum  (2  copies).  (Supposed 
to  be  of  Dutch  imprint.  D.N.B.) 

Most  of  the  letters  and  other  works  attributed  to  Lady- 
Jane  Grey  are  found  translated  into  Italian  in  the  Lettere  e 
ragionamenti  at  the  end  of  Florio's  biography. 

See  Catechismo.  [1553?] 

422 

1609.  Rime  di  Antonio  Galli  Air  Illustrissima  Signora  Eliza- 
betta  Talbot  Grey. 

Londini.  Excudebat  M.  Bradwood.  1609.  Sm.  Svo. 

Dedicated  to  Lady  Elizabeth  Talbot  Grey,  Countess  of  Kent. 

The  first  poem  contains  an  account  of  a  balletto  or  dance, 
given  by  Queen  Anne,  6  January,  1608/9,  mentioning  the 
Court  guests  by  name.  Two  other  poems  are  addressed  to 
Lady  Arabella  Stuart  and  to  the  Earl  of  Southampton. 

423 

1613.  Raccolta  d'  alcune  Rime  del  Cavaliere  Lodovico  Pe- 
trued  Mobile  Toscano  in  piu  luoghi,  e  tempi  composte  et  e  diversi 
Prencipi  dedicate;  con  la  Selua  delle  suo  Persecutioni. 

Farrago  Poematum  Equitis  Lodouici  Petrucci,  Nobilis  Tus- 
cani  diversis  locis  et  temporibus  conscriptorum  et  ad  diversos 
principes  dedicatorum  una  cum  sylva  suarum  persecutionum. 

Oxoniae.  1613.  Sm.  4to.  British  Museum. 

Dedicated,  in  prose,  to  King  James  I,  and,  in  verse,  to  all 
the  royal  family. 

This  is  a  volume  of  Italian  poems,  with  a  Latin  version  of 
each,  by  Petruccio  Ubaldini.  It  was  published  after  his  death, 
and  contains  verses  addressed  to  Queen  Elizabeth,  King  James 
I,  Sir  Francis  Bacon,  and  other  notable  personages.  One  poem 
is  an  elegy  in  memory  of  Sir  Thomas  Bodley. 

424 

1617.  Scala  Politica  delV  Abaminatione  e  Tirannia  Papale 
di  Benvenuto  ItalianOy  a  tutti  gli  Prencipi,  Republiche,  Stati,  e 


ITALIAN  AND  LATIN  PUBLICATIONS  501 


Signori  et  ad  ogn*  altro  nobil  spirito  amatore  delV  ortodossa  e 

Christiana  fede. 

Roma.  [London.]  1617.  12mo.  British  Museum, 
See  The  Passenger  of  Benvenuto  Italian  (1612). 

425 

1617.  Predica  [on  Rom.  xiii.  12]  .  .  .  fatta  la  prima  Do- 
menica  dell*  Avvento  quest  anno  1617  in  Londra  nella  Cappella 
detta  delli  Merciari. 

Giovanni  Billio,  Londra.    1617.  16mo.  British  Museum. 
By  Marco  Antonio  de  Dominis. 

See  A  Sermon  preached  .  ,  .the  first  Sunday  in  Advent,  etc. 
(1617). 

426 

1618.  Saggi  Morali  del  Signore  Francesco  Bacono,  cava- 
gliero  inglese,  gran  cancelliero  d*  Inghelterra,  con  un*  altro  suo 
Trattato  delta  Sapienza  degli  Antichi.  Tradotti  in  Italiano  [by 
Sir  Tobie  Matthew]. 

Giovanni  Billio.  Londra.  1618.  8vo.  2  parts.  (Part  2,  Delia 
Sapienza  degli  Antichi,  is  separately  paged.)  British  Museum. 

Saggi  morali  .  .  .  corretti  e  dati  in  luce  dot  Sig.  Cavalier  An- 
drea Cioli  .  .  .  etun  trattato  delta  Sapienza  degli  Antichi. 

Fiorenza.  1619-18.  12mo.  British  Museum.  Also,  Venetia, 
1621.  12mo.  British  Museum.  Bracciano.  1621.  24mo. 
British  Museum. 

The  second  edition,  curante  Andrea  Cioliy  contains  the  essay 
Of  Seditions  and  Troubles,  which  was  not  printed  in  England 
till  1625. 

A  dedicatory  letter  to  Cosimo  II  dei  Medici,  Grand  Duke  of 
Tuscany,  eulogizes  Sir  Francis  Bacon,  praising  him  not  only 
for  the  qualities  of  his  intellect,  but  also  for  those  of  the  heart 
and  will,  and  moral  understanding;  "being  a  man  most  sweet 
in  his  conversation  and  ways,  grave  in  his  judgment,  invari- 
able in  his  fortunes,  splendid  in  his  expenses;  a  friend  un- 
alterable to  his  friends;  an  enemy  to  no  man;  a  most  hearty  and 


502  ELIZABETHAN  TRANSLATIONS 


indefatigable  servant  to  the  king,  and  a  most  earnest  lover  of 
the  Public,  —  having  all  the  thoughts  of  that  large  heart  of 
his  set  upon  adorning  the  age  in  which  he  lives,  and  benefiting 
as  far  as  possible  the  whole  human  race." 

Sir  Tobie  Matthew  and  Sir  Francis  Bacon  became  friends 
as  young  men  together  in  Parliament,  and  their  affection  knew 
no  break  through  every  variation  of  both  their  fortimes.  Bacon 
held  a  high  opinion  of  Matthew's  literary  judgment,  and  sub- 
mitted his  writings  to  him  for  criticism  from  time  to  time, 
among  other  pieces  his  book,  De  Sapientia  Veterum,  with  an 
accompanying  letter  dated  February  17,  1610.  In  the  last 
year  of  Bacon's  life,  at  Sir  Tobie  Matthew's  special  request, 
he  rewrote  entirely  the  essay  Of  Friendship,  to  commemorate 
their  lifelong  intimacy. 

Mr.  A.  H.  BuUen,  in  his  edition  of  Thomas  Middleton's  A 
Game  at  Chess  (1625),  identifies  the  White  King's  Pawn,  who 
is  "black  underneath,"  as  the  Italianated  Enghsh  Jesuit,  Sir 
Tobie  Matthew. 

427 

1619.  La  Caccia  .  .  .  poema  heroicOy  nel  qual  si  tratta  piena- 
mente  delta  naturay  e  de  gli  affetti  d'  ogni  sarte  di  Fiere,  co  'Z  modo 
di  cacciarUy  &  prenderle, 

Appresso  Gio.  Billio.  Londra.  1619.  8vo.  British  Museum, 

A  poem  by  Alessandro  Gatti. 

428 

1645.  Poems  by  Mr.  John  Miltony  both  English  and  Latin, 
composed  at  several  Times.  Printed  by  his  true  Copies.  The 
Songs  were  set  in  Musick  by  Mr.  Henry  Lawes,  Gentleman  of  the 
King^s  Chappell,  London. 

Printed  by  Ruth  Raworth,  for  Humphrey  Mosely,  etc. 
London.  1645.  Sm.  8vo.  2  parts.  British  Museum. 

The  first  collective  edition  of  Milton  and  the  first  work 
bearing  his  name.  It  contains  an  oval  portrait  of  the  poet  at 
the  age  of  twenty-one,  by  W.  Marshall,  with  a  Greek  inscrip- 


ITALIAN  AND  LATIN  PUBLICATIONS  503 


tion  satirizing  the  engraver  for  representing  a  man  of  middle 
age. 

Poems,  &c.,  upon  several  Occasions.  By  Mr.  John  Milton; 
both  English  and  Latin,  &c.  Composed  at  several  Times.  With 
a  small  Tractate  of  Education  to  Mr.  Hartlib. 

London.  Printed  for  Thomas  Dring,  at  the  White  Lion.  .  .  . 
Fleet  Street.  1673.  Sm.  8vo.  Pp.  292.  With  portrait  by  W. 
Dolle,  and  considerable  additions,  both  to  the  English  and  the 
Latin  poems.  British  Museum. 

Accompanying  the  English  Poems,  Part  I,  in  these  two 
editions  prepared  for  the  press  by  Milton  himself,  are  five 
Italian  sonnets,  numbered  iii,  iv,  v,  vi,  and  vii,  and  a  canzone. 

They  relate  the  story  of  the  poet's  love  for  an  Italian  lady, 
whom  he  describes  as  beautiful,  dark-haired,  appreciative  of 
poetry,  and  a  sweet  singer.  Sonnet  iii  reveals  her  birthplace 
as  the  Vale  of  the  Reno,  between  Bologna  and  Ferrara.  Warton 
conjectures  that  she  was  the  celebrated  singer  Leonora  Baroni, 
whom  Milton  heard  at  Cardinal  Barberini's  musicales  in 
Rome,  and  to  whom  he  addressed  three  pieces  of  complimen- 
tary Latin  verse.  But  there  is  no  real  ground  for  this  fancy,  nor 
indeed  anything  to  indicate  definitely  that  Milton  met  the  lady 
in  Italy.  He  may  have  met  her  in  London  society,  and  the 
poems  may  have  been  written  before  he  travelled  in  Italy.  By 
common  consent,  however,  they  are  referred  to  the  time  of  the 
Italian  journey,  1638-39. 

In  three  of  the  sonnets  the  lady  is  addressed  directly,  — 

Sonnet  III 
Donna  leggiadra,  it  cui  bel  name  onora 
L'  erbosa  vol  di  Reno  e  il  nobil  varco. 

Sonnet  VI 
Per  certOy  i  bei  vostri  occhi.  Donna  mia, 
Esser  nan  pud  che  nan  sian  la  mio  sole. 

Sonnet  VII 
Giovane,  piano,  e  semplicetto  amante, 
Pcdche  fuggir  me  stesso  in  dubbio  sono. 
Madonna^  a  voi  del  mio  cuor  V  umil  dono 
Faro  divoto. 


504  ELIZABETHAN  TRANSLATIONS 


In  Sonnet  v,  Milton  takes  into  his  confidence  his  Italian 
friend,  Charles  Diodati,  — 

Diodati  {e  te  7  dird  con  maraviglia). 
In  Sonnet  iv,  — 

Qual  in  colle  aspro,  all '  imhrunir  di  sera, 
and  in  the  canzone^  the  English  poet  excuses  himself  for  writ- 
ing in  Italian,  on  the  ground  that  the  lady  had  "praised  her 
native  tongue  as  that  in  which  Love  delighted." 

Canzone 

Ridonsi  donne  e  giovani  amarosi 
M '  accostandosi  attornOy  e  "Perche  scrim , 
Perche  tu  scrivi  in  lingua  ignota  e  strana 
Verseggiando  d'  amor,  e  come  f  osi  ? 
Dinne,  se  la  tua  spema  sia  mai  vana, 
E  de'  pensieri  lo  miglior  t'  arrivi!'* 
Cosi  mi  van  hurlando:  *'altri  rim, 
Altri  lidi  V  aspettan,  ed  altre  onde, 
Nelle  cui  verdi  sponde 
Spuntati  ad  or  ad  or  alia  tua  chioma 
L '  immortal  guiderdon  d '  eterne  frondi, 
Perche  alle  spalle  tue  soverchia  soma?'* 
Canzon,  dirotti,  e  tu  per  me  rispondi: 
"Dice  mia  Donna,  e  7  suo  dir  e  it  mio  cuore, 
Questa  e  lingua  di  cui  si  vanta  Amore.'* 

Latin 
1545-1637 

429 

1545.  Opusculum  plane  divinum  de  mortuorum  resurrectione 
et  extremo  iuditio,  in  quattuor  Unguis  succinate  conscriptum. 
Latyne,  Englysshe,  Italian^  Frenche.  [By  John  Clerk.] 

London.  J.  Herforde.  1545.  4to.  British  Museum,  1547. 
4to.  Tanner  notes  a  third  edition  of  1573.  4to. 

Dedicated  to  Henry  Howard,  Earl  of  Surrey,  K.G. 

An  excessively  rare  little  book  on  the  resurrection  of  the 


ITALIAN  AND  LATIN  PUBLICATIONS  505 


dead.  The  English  and  French  texts  are  printed  in  black  letter, 
and  the  Latin  and  Italian  in  Roman  character,  while  the  pages 
are  divided  into  double  columns,  so  that  the  four  languages  can 
be  read  side  by  side. 

430 

[1549.]  Tradatio  de  Sacramento  Eucharistiae,  habita  in 
celeberrima  universitate  Oxoniensi  in  Anglia,  per  D.  petrum 
martyr  em  vermilium  Florentinum,  Regiam  ibidem  Theologiae 
professorem,  cum  jam  absoluisset  interpretationem  ii  capitis 
prioris  epistolae  D.  Pauli  Apostoli  ad  Corinthios.  Ad  hec  Dis- 
putatio  de  eodem  Eucharistiae  sacramento,  in  eadem  Universitate 
habita  per  eundem  D.  P.  Mar.  Anno  Domini  m.  d.  xlix.  2  parts. 

Londini,  ad  aeneum  serpentem.  Library  of  Edward  VI. 
Royal  Library.  British  Museum. 

At  folios  8,  10,  11,  12,  and  13,  of  the  Disputatio  are  notes 
in  the  handwriting  of  King  Edward  VI. 

Peter  Martyr  was  appointed  Regius  Professor  of  Divinity 
at  Oxford,  in  1548.  His  wife,  and  the  wife  of  Richard  Cox, 
Bishop  of  Ely,  were  "  the  first  women,  as 't  was  observ'd,  that 
resided  in  any  coll.  or  hall  in  Oxon." 

431 

1565.  Laelii  Capilupi  Mantuani  Cento  ex  Vergilio  De  Vita 
Monachorum. 

Impressum  Edinburgi  per  Robertum  Lekprevih.  Anno  1565. 
4 to.  8  leaves.  In  verse.  Trinity  College.  Cambridge. 

The  poem  consists  of  bits  of  Virgil  pieced  together,  with 
marginal  reference.  It  is  a  Scottish  reprint  of  Lelio  Capilupi's 
work. 

Cento  Virgilianus  de  Vita  monachorum  quos  vulgo  fratres  ap- 
pellant. 

Venice.  1543.  1550.  8vo.  Rome.  1573.  Reprinted  in 
Varia  doctorum  priorumque  virorum  de  corrupto  Ecclesiae 
statu  Poemata. 
Bale.  1556.  8vo. 


506  ELIZABETHAN  TRANSLATIONS 


432 

1566.  Epitaphia  et  Inscriptiones  lugubreSy  a  G.  B.  cum  in 
Italia,  animi  causa,  peregrinaretur,  collecta, 
Londini.  1566.  4to.  British  Museum. 

The  Dictionary  of  National  Biography  gives  the  first  edition, 
as  London,  1554. 

G.  B.  is  WiUiam  Barker  or  Bercher,  secretary  of  Thomas 
Howard,  4th  Duke  of  Norfolk,  who  translated  The  Fearfull 
Fancies  of  the  Florentine  Couper  (1568),  and  The  Nobility  of 
Women  (1559),  first  printed,  1904-05. 

433 

1571.  Balthasaris  Castilionis  comitis  de  Curiale  sive  Aulico 
libri  quatuor,  ex  Italico  sermone  in  Latinum  conversi.  Bartholo- 
maeo  Gierke  Anglo  Gantabrigiensi  interprets  Non  ante  aediti. 

Apud  J.  Dayum.  Londini.  1571.  8vo.  British  Museum. 
Londini.  1577.  Bvo.  Londini.  1585.  8vo.  British  Museum. 
Londini.  1593.  8vo.  Londini.  1603.  8vo.  British  Museum. 
Londini.  1612.  8vo.  British  Museum.  Cambridge.  1713.  8vo. 
Revised  by  Samuel  Drake.  British  Museum.  Frankfort.  1606. 
8vo.  Strasbourg.  1619.  8vo.  British  Museum.  Strasbourg. 
1663.  8vo.  Seven  English  imprints,  three  foreign,  in  ninety- 
two  years. 

To  the  first  Latin  edition,  by  Bartholomew  Gierke,  is  pre- 
fixed a  Latin  Epistle  by  Thomas  Sackville,  Lord  Buckhurst, 
and  Earl  of  Dorset,  author  of  Gorboduc,  the  earliest  English 
tragedy.  Gierke's  Latin  translation  is  highly  commended  by 
Sir  John  Harington,  in  the  preface  to  his  translation  of 
Ariosto's  Orlando  Furioso.  (1591.) 

See  The  Gourtyer  of  Gount  Baldessar  Gastilio.  (1561.) 

434 

1573.  B.  Mantuani  .  .  .  adolescentia,  seu  bucolica,  brevibus 
Jodoci  Badii  commentariis  illustrata.  His  accesserunt  Joannis 
Murmelii  in  singulas  eclogas  argumentay  cum  annotatiunculis 


ITALIAN  AND  LATIN  PUBLICATIONS  507 


ejusdem  in  loca  aliquot  obscuriora.  Accessit  &  index  .  .  .  novus 
.  .  .  opera  B.  Laurentis, 

Apud  T.  Marsh.  Londini.  1573.  8vo.  British  Museum. 
Also,  Londini.  1627.  8vo.  British  Museum. 

See  The  Eglogs  of  ...  B.  Mantuan  (1567). 

435 

1574.  M.  Palingenii  [Pietro  Angelo  ManzoUi]  .  .  .  Zodiacus 
vitae.  Hoc  est  de  hominis  vita,  studio  ac  morihus  optime  insti- 
tuendis  Lihri  xii.  Few  MS.  Notes. 

T.  Marsh.  Londini.  1574.  16mo.  Also,  Londini,  1575, 
8vo,  1579,  16nio,  1592,  Svo,  and  1639,  Svo,  all  five  editions  in 
the  British  Museum. 

See  The  first  thre  Bohes  of  the  most  christid  Poet  Marcellus 
Palingenius.  (1560.) 

436 

1580.  Jo.  Casae  Galateo,  seu  de  morum  honestate  et  elegantia 
liber.  [Translated  into  Latin  by  Nathan  Chytraeus  born 
*Kochhoff.']  Oxford.  1580.  8vo.  1630.  8vo.  1665.  8vo,  all 
three  Oxford  imprints.  Dedicated  to  Nicholas  Casa,  Chancellor 
of  the  King  of  Denmark.  First  Latin  translation  of  Galateo. 

See  Galateo  of  Maisfer  John  Delia  Casa.  (1576.) 

437 

1581.  Epistolarum  P.  Manutii  [Paolo  Manuzio]  libri  x. 
Quinque  nuper  additis.  Eiusdem  quae  praefationes  appellaniur: 
cum  noua  quoque  accessione. 

T.  Vautrolle[Y'm.&\.  Londini.  1581.  16mo.  Pp.  505.  British 
Museum.  Also  [libri  xii],  Londini.  1591.  16mo.  British 
Museum. 

438 

1581.  Phrases  Linguae  Latinae  ab  ^.[Ido]  Manutio  [Aldo 
Manuzio,  the  Younger].  P.  F.  conscriptae;  nunc  primum  in 
ordinem  Abecedarium  adductae,  &  in  Anglicum  sermonem  con- 
versae,  etc. 


508  ELIZABETHAN  TRANSLATIONS 


Ex  officina  Thomae  Vautrollerii.  Londini.  1581.  12mo. 
British  Museum,  Also,  Londini,  1599,  8vo,  British  Museum; 
Londini,  1618,  8vo,  British  Museum;  and  Cantabrigiae,  1636, 
8vo,  British  Museum. 

439 

1581.  Paraphrasis  aliquot  [i.e.,  22]  Psalmorum  Davidis, 
Carmine  heroico.  S.  Gentili  .  .  .  Auctore.  (Alcon,  seu  de  Na- 
tali  Jesu  Christi,  Ecloga,  etc.) 

T.  Vautrollerius.  Londini.  1581.  4to.  British  Museum. 

440 

S.  Gentilis  in  xxv.  Davidis  Psalmos  epicae  paraphrases. 
Apud  J.  Wolfium.  Londini.  1584.  4to.  British  Museum. 

441 

1582.  A  Gentilis  de  Juris  Interpretihus  dialogi  sex. 

Apud  J.  Wolfium.  Londini.  1582.  8vo.  British  Museum. 
1584.  8vo.  1585.  8vo.  And  in  Gui  Panciroli's  De  claris  Legum 
interpretihus.  Venice.  (1637.) 

Alberico  Gentili,  1550-161 1(?),  came  of  an  ancient  and  noble 
family  of  the  Marches  of  Ancona.  Having  become  a  Pro- 
testant, Alberico  went  to  England,  and  was  entered  at  New 
Inn  Hall,  Oxford,  in  1580.  He  seems  to  have  been  a  man  whose 
social  qualities  were  as  brilliant  as  his  learning  was  profomid. 
He  was  the  friend  of  Sir  Francis  Walsingham,  Sir  Philip  Sidney, 
Sir  Henry  Wotton,  Sir  Thomas  Bodley,  and  other  famous 
Elizabethans,  and  was  patronized  by  both  the  Earl  of  Leicester 
and  the  Earl  of  Essex.  In  1587,  Queen  Elizabeth  made  him 
professor  of  Civil  Law,  at  Oxford.  His  writings,  which  are  in 
Latin,  constitute  the  earliest  systematic  digest  of  international 
law  that  exists.  Robert  Gentili,  his  son,  was  a  prodigy  of  learn- 
ing as  a  boy,  but  left  only  a  few  translations  from  the  Italian, 
of  which  the  best  known  is  the  History  of  the  Inquisition,  from 
the  Italian  of  Father  Paul  [Paolo  Servita]  (1639). 

Scipio  Gentili,  brother  to  Alberico,  a  juris-consult  and  pro- 


ITALIAN  AND  LATIN  PUBLICATIONS  509 


fessor  of  civil  law  at  Altdorf,  made  a  Latin  version  of  Tasso's 
La  Gerusalemme  Liherata  (London,  1584),  and  wrote  two  para- 
phrases, from  the  Psalms,  in  verse.  The  sm-name  is  usually 
Englished,  *Gentilis.' 

442 

[1583?]  Philothei  J.  Bruni,  .  .  .  Recens  et  completa  Ars 
Reminiscendi,  et  in  phantastico  campo  exarandi.  Ad  plurimas 
in  triginta  Sigillis  inquirendiy  disponendiy  etque  retinendi  im- 
plicitas  novas  rationes  &  artes  introductoria.  {Philothei  J.  Bruni. 
.  .  .  Explicatio  Triginta  sigillorum^  quihus  adjectus  est  Sigillus 
Sigillorum.)  2  parts.  [By  Giordano  Brimo.] 

[London.  1583?]  8vo.  British  Museum. 

Dedicated  to  Michel  de  Castelnau,  Sieur  de  la  Mauvissiere, 
French  Ambassador  to  the  Court  of  Elizabeth,  in  whose  official 
family  Bruno  lived  during  his  stay  in  England,  1583-85.  The 
house  of  the  French  Ambassador  was  the  resort  of  a  select  little 
band  of  cultivated  Englishmen,  among  whom  were  Sir  Philip 
Sidney,  Sir  Fulke  Greville,  Dyer,  Harvey,  the  poet  Spenser, 
Temple,  the  translator  of  Ramus's  Dialecticae,  and  others  who 
took  an  interest  in  literature  and  philosophy. 

A  psychological  work;  the  thirty  seals  are  hints  *'for  the 
acquiring,  arranging,  and  recollecting  of  all  sciences  and  arts," 
the  Seal  of  Seals  "for  comparing  and  explaining  all  operations 
of  the  mind.  And  it  may  be  called  the  Art  of  Arts." 

443 

1583-87.  Lectionem  et  Epistolarum  quae  ad  Jus  Civile  per- 
tinent. Lihr.  I-IV.  [By  Alberico  Gentili.j 
London.  1583-87.  8vo. 

444 

1584.  Hugonis  Platti  armig.  Manuele,  sententias  aliquot 
Divinas  &  Morales  complectens:  partim  h  Sacris  Patribus, 
partim  e  Petrarcha  philosopho  et  Poeta  celeberrimo  decerptas. 

1584.  16mo.  Also,  P.  Short.  Londini.  1594.  16mo.  British 
Museum. 


510  ELIZABETHAN  TRANSLATIONS 


445 

1584.  Torquato  Tasso  SolymeidoSy  Liber  primus,  Latinis 
numeris  expressus  a  Scipio  Gentili. 

Londini,  excudebat  Johannes  Wolfius.  1584.  4to.  British 
Museum. 

S.  Gentilis  Solymeidos  libri  duo  priores  de  T.  Tassi  Italicis 
expressi. 

1584.  4to.  British  Museum.  1585.  4to.  British  Museum. 
See  A  Gentilis  de  Juris  Interpretibus  dialogi  sex  (1582),  and 

The  History  of  the  Inquisition  (1639),  and  The  Chief  e  Events  of 
the  Monarchic  of  Spaine  (1647). 

446 

1585.  J.  C.  Stellae  Nob.  Rom.  Columbeidos,  Libri  Priores 
duo.  [Edited  by  Giacopo  Castelvetri.] 

Apud  J.  Wolfium.  Londini.  1585.  4to.  British  Museum. 

A  poem  on  the  discovery  of  the  new  world,  composed  at  the 
age  of  twenty,  by  Giuho  Cesare  Stella.  It  won  a  great  reputa- 
tion for  the  author  in  Italy,  but  it  is  said  to  be  a  mediocre  per- 
formance, and  the  author  wrote  nothing  of  note  afterwards. 

447 

1585.  A  Gentilis  de  LegationibuSy  libri  tres. 
T.  Vautr oiler ius.   Londini.    1585.   4to.   British  Museum, 
(2  editions.)   Hanau.  1594  and  1607.  Bvo. 
Dedicated  to  Sir  Philip  Sidney, 

448 

1585.  Legalium  Comitiorum  Oxoniensium  Actio.  [ByAlberico 
Gentili.] 
London.  1585.  8vo. 

449 

1587.  Disputationum  Decas  prima,  [By  Alberico  Gentili.] 
London.  1587.  Svo. 


ITALIAN  AND  LATIN  PUBLICATIONS  511 


450 

1587.  Conditionum  Liber  Singularis.  [By  Alberico  Gentili.] 
London.  1587.  8vo.  1588.  4to. 

451 

1588.  De  Jure  Belli  Commentatio  Prima.  [By  Alberico 
Gentili.] 

London.  1588.  4to;  Commentatio  Secunda.  1588-89;  Com- 
mentatio Tertia.  1589;  Commentationes  Tres.  London.  1589. 
8vo;  De  Jure  Belli  Libri  Tres.  Oxford,  ed.  T.  E.  Holland. 
1877.  8vo;  and  in  the  Opera  Omnia.  1770.  4to. 

This  is  the  work  on  which  Gentili's  reputation  mainly  rests. 

452 

1590.  De  Injustitia  Bellica  Romanorum  Actio.  [By  Alberico 
GentiH.] 

Oxford.  1590.  4to. 

453 

1591.  De  furtivis  literarum  notis,  vulgo  de  Ziferis  libri  iiii. 
[Edited  by  Giacopo  Castelvetri,  from  Giovanni  Battista  della 
Porta.] 

J.Wolphium.  Londini.  1591.  4to.  Pp.228.  British  Museum. 

This  work  appeared  at  Naples,  in  1563.  It  gives  one  hundred 
and  eighty  different  ciphers,  with  methods  to  multiply  them 
infinitely,  and  entitles  Porta  to  high  rank  among  early  writers 
on  cryptography. 

454 

1594.  Tradatus  de  Globis  et  eorum  Usu,  accommodatus  iis  qui 
Londini  editi  sunt  anno  1593,  sumptibus  Gulielmi  Sandersoni, 
civis  Londinensis. 

In  aedibus  Thomae  Dawson.  Londini.  1594.  8vo.  British 
Museum.  Amsterdam.  1611  and  1624.  With  notes  and  illus- 
trations by  J.  J.  Pontanus.  Heidelberg.  1613. 

Dedicated  to  Sir  Walter  Ralegh. 


512  ELIZABETHAN  TRANSLATIONS 


Robert  Hues's  Tractatus  de  Globis  et  eorum  Usu  was  written 
especially  for  Emery  Molyneux*s  terrestrial  and  celestial 
globes,  published  in  1592,  and  now  in  the  library  of  the  Middle 
Temple.  Molyneux's  terrestrial  globe  showed  by  a  red  line 
the  route  of  Sir  Francis  Drake's  circumnavigation  of  the 
earth,  1577-1580. 

See  A  Learned  Treatise  of  Globes.  (1638.) 

455 

1604.  Ad  I.  Maccahaeorum  Disp.  et  de  Linguarum  Mistura. 
[By  Alberico  Gentili.] 

London.  1604. 

456 

1605.  A.  Gentilis,  .  .  .  Regales  Disputationes  tres;  id  est,  De 
potestate  Regis  ahsoluta.  De  unione  Regnorum  Britanniae,  De 
vi  civium  in  Regem  semper  iniusta.  Nunc  primiXm  in  lucem 
editae.  [With  dedication  by  R.  Gentilis.] 

Apud  T.  Vautrollerium.  Londini.  1605.  4to.  British  Mu- 
seum. Also,  FoHo,  same  year.  Hanau.  1605.  8vo. 

457 

1605.  De  Unione  Angliae  et  Scotiae  Discursus.  [By  Alberico 
Gentili.] 

London.  1605.  8vo.  Eelmstedt.  1664.  4to. 

458 

1606.  De  libro  Pyano  ad  Jo.  Howsonum  Epistola  (dated  1603) 
in  Howson's  Theseos  defensio.  [By  Alberico  Gentili.] 

Oxford.  1606. 

459 

1616.  M.  A.  de  Dominis  .  .  .  suae  Profectionis  Consilium 
exponit. 

Apud  J.  Billium,  Londini,  1616.  4to.  British  Museum 
(2  copies). 


ITALIAN  AND  LATIN  PUBLICATIONS  513 


460 

1617-58.  De  republica  Ecclesiastica  Libri  x.  (.  .  .  Pars 
secunda  .  .  .  cum  appendicibus  .  .  .  in  quibus  .  .  .  refellitur  opus 
.  .  .  Cardinalis  Perroniiy  in  ea  Parte  in  qua  agitur  de  sandissima 
Eucharistia.  .  .  .  Additur  .  .  .  Responsio  ad  magnam  partem 
Defensionis  Fidei  P.  F.  Suarez.  —  Pars  Tertia  .  .  .  cum  .  .  .  G. 
Cassandri  tractatu  De  Officio  pii  viri  circa  religionis  Dissidia, 
etc.)  3  parts.  [By  M.  A.  de  Dominis.] 

Apud  J.  Billium.  Londini  [and  Frankfort].  1617-58.  Folio. 
British  Museum. 

Part  III  bears  the  imprint,  Francofurti." 

The  controversial  authors  of  Parts  ii  and  iii  are  Cardinal 
Jacques  Davy  du  Perron,  Francisco  Suarez,  and  George  Cas- 
sandre. 

461 

1619.  Apologia  Equitis  Lodovico  Petrucci  contra  Calum- 
niatores  suos;  Una  cum  Responsione  ad  libellum  a  Jesuitis 
contra  serenissimum  Leonardum  Donatum,  Ducem  Venetumy 
Promulgatum. 

Londini.  1619.  4to.  British  Museum.  Incomplete,  does  not 
contain  the  reply  to  the  Jesuits,  mentioned  in  the  title.  Also, 
in  Italian,  with  portrait  by  Thomas  Pothecary. 

Dedicated  to  King  James  I,  by  Petruccio  Ubaldini. 

462 

1620.  Petri  Suavis  Polani  Historiae  Concilii  Tridentini  Libri 
Octo,  Ex  Italicis  summa  fide  et  accuratione  Latini  facti.  Veniet 
qui  conditam,  et  seculi  sui  malignitate  compressam  Veritatem^ 
dies  publicet.  Etiam  si  omnibus  tecum  viventibus  silentium  livor 
indixerit;  venient  qui  sine  offensa,  sine  gratia  judicent.  Nihil 
simulatio  proficit,  paucis  imponit  leviier  extrinsecus  inducta 
fades;  Veritas  in  omnem  partem  sui  semper  eadem  est.  Quae 
decipiunty  nihil  habent  solidi.  Tenue  est  mendadum;  perlucent, 
si  diligenter  inspexeris. 


514  ELIZABETHAN  TRANSLATIONS 

Seneca,  in  fine  Epist.  lxxix. 

Augustae  Trinobantum.   iLondon.]  m.dc.xx. 

A  Latin  translation  of  Fra  Paolo's  Historia  delV  Concilio 
Tridentino.  The  first  six  books  were  translated  by  Adam  New- 
ton, Dean  of  Durham,  afterwards,  Sir  Adam  Newton,  and  the 
last  two  by  William  Bedell,  afterwards  Bishop  of  Ardagh  and 
Kilmore. 

463 

1626.  Inderdicti  Veneti  Historia  de  motu  Italiae  sub  initio 
Pontificatus  Pauli  V.  Commentarius,  Authore  R.  P.  Paulo 
Sarpioy  Veneto.  .  .  .  Recens  ex  Italico  conversus  [by  William 
Bedell,  Bishop  of  Kilmore  and  Ardagh]. 

Apud  T.  Buckey  J.  Bucke,  et  L.  Greene,  Cantabrigiae,  1626. 
4to.  Pp.  225.  British  Museum. 

Dedicated,  Serenissimo  Potentissimoque  Principi  Carolo, 
D.  G,  Magnae  Britanniae,  Franciae,  et  Hiberniae  Regi,  Fidei 
Defensori.'' 

This  is  a  Latin  version  of  Fra  Paolo's  History  of  the  Interdict, 
written  in  1608,  but  not  published  until  after  the  author's 
death. 

Istoria  particolare  delle  cose  passate  tra  'Z  Sommo  Pontifice 
Paolo  V  e  la  Serenissima  Republica  di  Venetia  gli  anni  m.dcv, 
M.DCVI,  M.DCVii.  Lione.  [Venice?]  1624.  4to.  British  Museum. 

See  The  History  of  the  Quarrels  of  Pope  Paul  V.  with  the 
State  of  Venice.  (1626.) 

464 

1629.  De  Ludis  Scenicis  Epistolae  Duae  (dated  1593).  [By 
Alberico  Gentili.]  (Appended  to  John  Rainolds's  The  Overthrow 
of  Stage  Play es.  Middelburg.  1599.  4to.) 

Oxford.  1629.  4to. 

465 

1631.  F.  Stradae  [Famiano  Strada]  Romani  .  .  .  Prolusiones 
Academicae  juxta  exemplar  Authoris  recognitae,  etc. 
G.  Turner.  Oxoniae.   1631.  8vo.  British  Museum. 


ITALIAN  AND  LATIN  PUBLICATIONS  515 


[Another  edition.]  Oxonii.  1745.  8vo.  British  Museum. 
See  Steps  to  the  Temple,  (1646.) 

466 

1637.  R.  P.  E.  Thesauri  [Count  Emmanuele  Tesanro]  .  .  . 
Caesares;  et  ejusdem  varia  carmina:  quibus  accesserunt.  .  .  . 
Nobilissimorum  Orieniis  &  Occideniis  Pontificum  elogia  & 
varia  opera  Poetica.  Editio  secunda  emendatior,  cum  auctariolo. 

L.  Lichfield.  Impensis  Gulielmi  Webb.  Oxonii.  1637.  8vo. 
British  Museum. 


INDEX 


INDEX 


A.,  E,  [E.  Aggas?],  58. 

A.,  L.,  75. 

Abbot,  George,  276. 

Abuses  Stript  and  Whipt,  180. 

Abusiz,  Les,  45,  218. 

Academy,  The,  127. 

Accarigi,  Alberto,  da  Cento,  345. 

Acciajuoli,  Donato,  113,  401,  402. 

Accolti,  Bernardo  (L'  Unico  Aretino),  448. 

Accolti,  Francesco,  150. 

Account  of  English  Dramatic  Poets,  98. 

Acharisio,  Vocabolario,  grammatica  et  ortho- 

graphia  de  la  lingua  Volgare  di  A.,  345. 
Acharsi  da  Cento,  La  Grammatica  volgare  di 

M.  A.  de  gV,  345. 
Achelley,  Thomas,  37,  41,  103,  124,  234. 
Achilles  Tatius,  482. 

Acontius,  (Aconcio,  Concio,)  Giacopo,  290, 
291,  397,  487,  488. 

Acquapendente,  Fabrizio  d'  (see  Geronimo 
Fabrizio) . 

Aetes  of  the  Apostles,  The,  230,  231. 

Ad  Gerontiam  viduam  de  monogamia,  24. 

Ad  Patrem,  162. 

Adams,  Robert,  403. 

Addison,  Joseph,  340,  428,  439. 

Adelmare,  Cesare,  Ixii. 

Adlington,  William,  xlvi,  404. 

Admetus  and  Alcest,  30. 

Admirable  and  memorable  Histories  concern- 
ing the  Wonders  of  our  Time,  83,  84. 

Adrasta,  or  The  Woman's  Spleen  and  Love's 
Conquest,  96. 

Advancement  of  Learning,  424. 

Advertisements  from  Parnassus,  439. 

Advice  of  the  Lord  Treasurer  Burleigh  to 
Queen  Elizabeth,  425. 

Aeneid,  121,  350. 

Aeneus  Tactions,  306. 

Affinati  d'  Acuto,  Jacopo,  475. 

Affrican  and  Mensola,  73. 

Africa,  A  Geographical  Historic  of,  383* 

Africa,  Descrittione  del,  384. 

Agamemnon,  365. 

Aglionby,  Edward,  253,  254. 

Agnelio,  Giovanni  Battista,  487. 

Agricola  Cnaeus  Julius,  496. 

Agricola,  La  Vita  di  Giulio,  496* 

Agricolae,  Vita  Julii,  496. 

Agrippa,  Heinrich  Cornelius,  479,  480,  481, 
482. 

Alabaster,  William,  210. 
Alamanni,  Luigi,  307. 


ATba,  146,  147,  148,  206. 

Albanoyse  Capteine,  An,  19. 

Alberti,  Leone  Battista,  473,  474. 

Alberus,  Erasmus,  251,  252. 

Albion's  England,  41,  115,  126,  127. 

Albizzi,  Bartolommeo,  251,  252. 

Alboin,  43,  71,  236,  405,  406. 

Albovine,  King  of  the  Lombards,  The  Tragedy 

of,  14,  42,  43,  48,  71,  236,  405. 
Albret,  Jeanne  d',  Queen  of  Navarre,  68. 
Albumazar,  306,  207. 
Alceste  and  Eliza,  The  Tragedie  of,  187* 
Alchemist,  The,  Ixiv,  238. 
Aloiat  (Alciati),  Andrea,  471. 
Alcibiades,  432. 
Alcippo,  478. 

Alcon,  seu  de  Natali  Jesu  Christi,  Ecloga, 

etc.,  508. 
Alcoran  des  Cordeliers,  L' ,  251. 
Alcoran  of  the  Barefote  Friers,  The,  361,  252. 
Alcoranus  Franciscanorum,  252. 
Aldobrandini,  Ippolito  (Clement  VIII). 
Alemdn,  Mateo,  349. 
Aleran  and  Adelasia,  38. 
Alessio,  Piemontese,  303. 
Aletifilo,  Lelio,  9. 
Alexander,  15,  309. 

Alexander  Severus,  Marcus  Aurelius,  393. 
Alexander  VII.  (Fabio  Chigi),  442. 
Alexander  de  Medice  and  the  Miller's  Daugh- 
ter, 15. 

Alexander,  William,  Earl  of  Stirling,  12. 
Alexis  of  Piemount,  The  Secretes  of  the  rever- 

ende  Maister,  Ixiii,  303,  303,  304,  312. 
Alexius,  30. 

Aleyn  (Allen),  Charles,  7,  8. 

Alienor  de  Poitou,  223. 

Allen,  Edmund,  254. 

Alleyn,  Edward,  100,  136. 

Allott,  Robert,  124,  365. 

All 's  Lost  by  Lust,  103. 

All 's  Well  that  Ends  Well,  13,  94. 

Alunno,  Francesco,  345,  354,  355. 

Amadis  de  Gaule,  49,  76. 

Amazons,  The,  14. 

Amazons  and  Knights,  A  Masque  of,  14. 

America,  The  Discovery  of,  379. 

America,  Divers  Voyages  touching  the  Dis- 

coMverie  of,  377,  378,  380. 
America,  The  First  Three  English  Books  on, 

373. 

America,  The  Voyages  of  the  English  Nation 
to,  378,  380. 


520 


INDEX 


American  Journal  of  Philology,  The,  478. 
Ameto,  233. 

Aminta,  1,  125,  137,  184,  204,  207,  215,  350. 
Aminta.   Englisht.  Torquato  Tasso's,  184, 
201. 

Aminta,  favola  Boschereccia  del  S.  Torquato 
Tasso,  496. 

Aminta:  the  famous  Pastoral  (Dancer),  215. 

Amintae  Gaudia,  124,  125,  139,  140. 

Ammogliarsi,  DelV,  157. 

Amoretti,  478. 

Amorous  Prince,  The,  95. 

Amphiaraus  and  Eriphile,  30. 

Amurath  II,  394. 

Amyntas,  124,  135,  127,  128,  136,  137. 
Amyntas,  or  The  Impossible  Dowry,  41. 
Amyot,  Jacques,  13,  15,  401,  402. 
Anacreon,  190. 

Anacreon:  Bion:  Moschus,  etc.,  190. 
Anatomie  of  Abuses,  The,  lii. 
Anatomy  of  Melancholy,  The,  84. 
Ancient  Ballads,  240. 
Anderson,  Sir  Edmund,  Ixxv. 
Anderson,  Robert,  181. 
Anditimi,  E.,  409. 

Andrea,  Giovanni,  della  Anguillara,  207. 
Andria,  215. 

Andromana,  or  The  Merchant's  Wife,  51. 

Androse,  Richard,  303. 

Androzzi,  Fulvio,  265,  273,  279. 

Anecdote  of  Anne  Clifford,  Countess  of  Dor- 
set, Pembroke  and  Montgomery,  Ixadx. 

Anecdotes  and  Traditions,  91. 

Anecdotes  of  Literature  and  Scarce  Books,  85, 
207. 

Anerio,  Felice,  131,  142,  143,  145,  163. 
Anglia,  83,  237. 

Angoul^me,  Marguerite  d'  (see  Queen  of 
Navarre). 

Angviillara,  Giovanni  Andrea  dell',  207. 
Annales,  15. 

Annals  of  the  Reformation,  Ivii,  400. 
Anne,  Queen,  205,  352,  353,  500. 
Anogardo,  Aloigi,  320. 
Ansaldo  and  Dianora,  15. 
Anselm,  Saint,  287. 
Antiquary,  The,  95. 
Antiquitez  de  Rome,  139. 
Antonio  and  Mellida,  447. 
Antonio  da  Pistoia,  151. 
Antonius,  Marc,  13. 
Antonius,  Marcus,  402. 
Anuals  of  great  Brittaine,  The,  164. 
Aphorismes  Civill  and  Militarie,  365* 
Apius  and  Virginia,  A  new  tragical  comedy 
of,  12. 

Apollinaris  "The  Younger,"  289. 
Apologia  Ecclesiae  Anglicanae,  250,  256. 
Apologia  Equitis  Lodovico  Petrucci,  513. 
Apologie  or  aunswer  in  defence  of  the  Church 
of  England,  250. 


Apologue  of  the  Angel  and  the  Hermit,  453, 

454,  455. 
Apolonius  and  Silla,  44,  45,  218. 
Appell,  J.  W.,  329. 
Appian,  15. 

Appius  and  Virginia,  12. 

Aquino,  Maria  d',  "Fiammetta,"  18. 

Arber,  Edward,  116,  124,  128,  155,  160,  373. 

Arber's  Transcript,  201. 

Arbour  of  Vertue,  The,  31,  33. 

Arcades,  Ixxiv,  139. 

Arcadia  (Sannazaro),  xli. 

Arcadia,  The  Countess  of  Pembrokes,  xli, 

Ixxiii,  51,  74,  75,  137,  159,  182. 
Arcadian  Princesse:  or,  The  Triumph  of  JuS' 

tice.  The,  104. 
Arcadian  Rhetorike,  The,  350. 
Archaica,  57. 

Architecture,  the  first  ( —  thefift)  booke  of,  337. 
Architettura,  Regoli  generali  d\  337. 
Archivfur  das  Studium  der  Neueren  Sprachen 

und  Literaturen,  201,  215. 
Arcos,  Christoval  de,  375. 
Aretine,  The  Historic  of  Leonard,  395. 
Aretini  de  bello  Italico  adversus  Gotthos, 

Leonardi,  395. 
Aretino,  Leonardo  (see  Bruni). 
Aretino,  Pietro,  xliii. 

Argentine,  alias  Sexten,  Richard,  246,  249. 
Argote  y  Gdngora,  Luis,  190. 
Arimanthus  borne  a  leper,  44. 
Ariodante  and  Geneuora,  135,  229. 
Ariodanto  and  leneura.  The  Historic  of,  19, 
338,  229. 

Ariosto,  Lodovico,  xlii,  xliii,  1,  Iv,  24,  117, 
124,  128,  135,  136,  149,  168,  169,  170,  171, 
173,  197,  216,  229,  354,  468,  506. 

Ariostos  Satyres,  148,  170,  180,  206. 

Ariostos  seven  Planets  Concerning  Italie, 
170. 

Aristotle,  Ixx,  123,  256,  476. 

Armada,  The  Spanish,  403. 

Armada,  State  Papers  relating  to  the  Defeat  of 
the  Spanish,  403. 

Armata  Spagnuola,  Commentario  del  successo 
delV,  403. 

Armin,  Robert,  237,  238. 

Arnaldo,  or  The  Injur'd  Lover,  108. 

Arnalte  and  Lucenda,  A  small  Treatise  be- 
twixt, 28,  338,  352. 

Arnalte  and  Lucenda,  The  pretie  and  wittie 
Historic  of,  38,  239,  352. 

Arnold,  Sir  Edwin,  Ixxvi,  96,  241. 

Arnold,  Matthew,  Ixxvi. 

Arnoudin,  J.  d',  480. 

Arrian,  179. 

Ars  Aulica  or  The  Courtiers  Arte,  179. 

Ars  chirurgica,  317. 

Art  of  Conversation,  The,  469. 

Art  of  Living  Long,  The,  340. 

Art  of  Riding,  The  (Astley),  305,  33». 


INDEX 


521 


Art  of  Riding,  The  (Bedingfield),  823. 
Art  of  Venerie  or   Hunting,    The  Noble, 
320. 

Art  of  War,  The,  421. 
Arte  Aulica,  479. 

Arte  de  la  Pittura,  Trattato  delV,  334. 

Arte  delta  guerra  di  Niccolo  Machiavegli, 
Libra  delV ,  306,  417. 

Arte  of  ryding,  A  newe  booke,  containing  the 
(Blundeville),  304,  323. 

Arte  of  shooting,  Three  bookes  of  Colloquies 
concerning.  The,  334. 

Arte  of  Warre,  The,  li,  305,  306,  307,  310. 

Artem  amandi  dechasticon.  In,  473. 

Aries  of  curious  Paintinge,  A  Tracte  contain- 
ing the,  334. 

Arthur,  King,  492. 

As  You  Like  It,  xliv,  36, 141. 

Ascham,  Roger,  xxxvii,  xli,  xlii,  xliv,  Ivii, 
448. 

Ashbee,  C.  R.,  445. 
Ashbee,  Janet  E.,  445. 
Ashe,  Thomas,  447. 
Ashley,  Robert,  389,  429. 
Ashmole,  Elias,  277. 
Asinari,  Federico,  151. 
Asola,  Giovanni  Matteo,  163. 
Asolani,  Gli,  448. 
Astley,  John,  xlvii,  305,  323. 
Astrologo,  L',  207. 
Astrologer,  The,  206. 
Astrophel,  Ixxiii,  134,  478. 
Atanagi,  Dionigi,  39. 

Athanasius  his  Prologue  to  the  Psalter,  St., 
113. 

Atheist's  Tragedy,  The,  42,  95. 
Athenae  Oxonienses,  30, 107, 485. 
Athenaeum,  The,  467,  482,  491. 
Atlantis,  li. 

Atto  della  Giustitia  d'  Inghilterra,  493. 
Aubant,  Abraham  d',  486. 
Aubrey,  John,  429. 
Aulus  Gellius,  23. 

Auncient  Order  Societie  and  Unitie  Laudable 
of  Prince  Arthure,  etc..  The,  26. 

Aurelia,  The  Paragon  of  Pleasure  and 
Princely  Delights,  47. 

Aurelio  and  Isabell,  The  Historic  of,  9. 

Aurora  Ismenia  and  the  Prince,  189. 

Ausonius,  Decimus  Magnus,  78,  167,  189, 
190. 

Austin,  Sarah,  264,  284. 

Authorized  Version,  xlvi. 

Autobiography.  A  Collection  of  the  Most 
Instructive  and  Amusing  Lives  ever  Pub- 
lished, 277. 

Autumnal,  The,  Ixxvii. 

Avvertimenti  Avvedimenti  Civili  and  Con- 
cetti Politici,  367. 
Aylesbury,  William,  430. 
Aylward,  Father,  270. 


Ayres  and  Dialogues  for  One,  Two,  and 

Three  Voyces,  207. 
Ayres  or  Phantasticke  Spirites  for  threeVoices, 

liii,  101.  148,  173. 

B.,  G.,  251,  275,  323. 

B.,  G.,  (Blochimo,  G.),  312. 

B.,  H.,  (Bullinger,  Henri),  258. 

B.,  R.,  12,  29. 

B.,  W.,  280,  312. 

Babington,  C,  296. 

Baccusi,  Hippolito,  163. 

Bach,  Johann  Sebastian,  192. 

Bacon,  An  Account  of  the  Life  and  Times  of 

Francis,  250. 
Bacon,  Anne  Cooke  (Lady  Bacon),  Izzii, 

246,  249,  250,  251,  256. 
Bacon,  Anthony,  250. 

Bacon,  Sir  Francis,  xliii,  xlvi,  liii,  Ixiii,  Ixiv, 
Ixv,  Ixvi,  Ixxii,  Ixxx,  249,  250,  251,  340, 
424,  500,  501,  502. 

Bacon,  Nathaniel,  254,  255. 

Bacon,  Sir  Nicholas,  Ixxii,  249,  250. 

Bade,  Conrad,  252. 

Bade,  Josse  (Badius,  Jodicus  Ascentius), 

115,  506. 
Bagford  Papers,  86,  232. 
Baker,  Betsy,  216. 
Baker,  George,  Ix,  301. 
Baker,  Sir  Richard,  427. 
Baker^s  Chronicle,  428. 
Balbani,  Niccold,  267,  268. 
Balbi,  Lodovico,  163. 
Balbinus,  Decimus  Caelius,  393. 
Ballad  of  Master  Ffrauncis  an  Italian,  A, 

254. 

Ballate  a  Cinque  Voci,  Di  Tomaso  Morlei, 
497. 

Balletti  da  suonare,  cantare,  et  ballare,  142, 
144. 

Balletts  to  Five  Voyces,  The  First  Booke  of, 

142,  498. 
Balzani,  Count  Ugo,  295. 
Bamfield,  Hugh,  114. 

Bandello,  Matteo,  xli,  12,  13,  14,  15,  16,  19, 
20,  25,  28,  32,  33,  34,  36,  38,  41,  43,  44,  45, 
48.  62,  67,  71,  72.  73.  86.  90.  97,  136,  144, 
178,  218.  224,  225,  227,  228,  229,  232,  234, 
235,  236,  406,  468. 

Bandello,  The  Novels  of  Matteo,  43. 

Bandello's  Novelle,  41. 

Banishment  of  Cupid,  51. 

Bannatyne  Club,  177. 

Banquet  of  Daintie  Conceyts,  A,  xlviii. 

Barabbas,  423. 

Barbaro,  Giosafat.  347.  389.  390. 
Barbarossa,  the  Pope,  and  the  Sultan,  Fred- 
erick, 113. 
Barbazan.  Etienne.  6. 
Barberini,  Antonio,  II  Giovane,  431,  503. 
Barberino,  S.,  415. 


522 


INDEX 


Bardi,  Girolamo,  410,  414. 
Bardi,  I,  xxxviii. 

Barentzen,  or  Barent,  Wilhelm,  382. 
Bargrave,  Isaac,  209. 

Barker,  or  Bercher,  William,  257,  479,  480, 
482,  506. 

Barksted,  William,  16,  19,  32,  42,  49. 

Barksted's  Tragedy,  16,  19,  32,  42,  49. 

Barnes,  Barnabe,  Ixxiv. 

Barnfield,  Richard,  xlviii,  145,  149,  159. 

Baron,  Robert,  43. 

Baroni,  Leonora,  503. 

Barri,  Cristoforo,  389. 

Basset,  R.,  479. 

Bateson,  Thomas,  148,  162,  172. 

Bathurst,  Charles,  488. 

Bavia,  Luis  de,  412. 

Baxter,  James  Phinney,  377. 

Beard,  Thomas,  15,  73. 

Beaumont,  Francis,  465. 

Beaumont  and  Fletcher,  14,  15,  18,  37,  43,  51, 

52,  95,  96,  103,  234. 
Becerra,  Domingo  de,  462. 
Bedell,  Life  of  Bishop,  278. 
Bedell,  William,  Bishop  of  Kilmore  and 

Ardagh,  Ixii,  264,  276,  278,  284,  292,  514. 
Bedingfield,  Thomas,  xlvii,  Ixii,  323,  404, 

405,  458. 
Bedwell,  William,  278. 
Bee,  The,  227. 
Behn,  Aphra,  93,  94,  95. 
Belfagor  Arcidiavolo,  Novella  di,  44,  45,  106. 
Bellamy,  Edward,  332. 
Bellarmino,  Roberto,  282. 
Bellay,  Joachim  du,  138,  139. 
Belleforest,  Frangois  de,  12,  14,  15,  16,  19, 

20,  38,  43,  45,  62,  65,  71,  90, 136,  218,  224, 

228,  229,  404,  406,  469. 
Belli,  Giulio,  154. 
Bellini,  Giovanni,  329. 

Bella  Belgico.  The  History  of  the  Low-Coun- 
try Warres,  De,  434. 

Bello  Belgico,  F.  S.  .  .  .  de,  434,  439. 

Beloe,  William,  85,  207. 

Belphegor,  44,  45. 

Bembo,  Francesco,  171. 

Bembo,  Pietro,  Cardinal,  159, 171, 182,  184, 
245,  418,  440,  448,  450. 

Benedetto  da  Mantua,  297. 

Benedict  XIII  (Pedro  de  Luna),  285. 

Beneficio  di  Giesii  Christo  Crocifisso,  Trat- 
tato  utilissimo  del,  297. 

Benefit  of  Christ's  Death,  The,  296. 

Benefite  that  Christians  receyve  by  Jesus 
Christ  crucifyed.  The,  297. 

Bengalasso  del  Monte,  Prisacchi  Eetto,  466. 

Benincasa,  Cattarina  (see  Baint  Catherine 
of  Siena). 

Benivieni,  Girolamo,  190. 

Bennet,  John,  161,  162. 

Benott  de  Sainte-Maure,  223. 


Bentivoglio,  Guide,  Cardinal,  Ixxx,  435, 

436,  437. 
Benuccio,  Michel,  107. 
Benvenuto  Italiano,  355,  500,  501. 
Bergeries  de  Juliette,  Les,  206. 
Berkeley,  Elizabeth  Carey,  Lady,  Ixxiv. 
Berkeley,  Frances,  348. 
Berkeley,  Henry,  Baron,  348. 
Berkeley,  Mary,  348. 

Bernardoni,  Francesco,  Saint  Francis  of 

Assisi,  251,  252. 
Berni,  Francesco,  152. 
Beroaldo,  Filippo,  151,  227. 
Bertani,  Lelio,  129,  163. 
Beverley,  Peter,  19,  228. 
B6ze,  or  Besze,  Theodore  de,  211,  250,  267, 

268,  296. 
Bianchi-Giovini,  A.,  277,  284,  295. 
Bianciardi,  Francesco,  61,  156. 
Bibbiena,  Bernardo  Dovizi  da,  448. 
Bibliographical  and  Critical  Account  of  the 

Rarest  Books  in  the  English  Language,  173. 
Bibliography  of  English  Military  Books,  etc., 

A,  281,  307. 
Biblioteca  Italiana,  480. 
Bibliotheca  scholastica  instructissima,  366* 
Bicci,  A,  130. 

Bidpai,  The  Earliest  English  Version  of  the 

Fables  of,  13,  456,  457. 
Bindo  and  Ricciardo,  14,  42,  86. 
Biographia  Dramatica,  83,  213. 
Biographie  Universelle,  9,  235,  488. 
Biondi,  Giovanni  Francesco,  104,  426. 
Biringuccio,  Vannuccio,  371. 
Bitter-Sweet,  174. 
Bizari,  Pietro,  xxxvii,  xl. 
Blackwood's  Edinburgh  Magazine,  153. 
Blazon  of  Jealousie,  The,  148,  170,  180,  181. 
Bloody  Brother,  or  Rollo  Duke  of  Normandy, 

The,  338. 

Blount,  Charles,  8th  Lord  Mountjoy  and 
Earl  of  Devonshire,  74,  155. 

Blount  or  Blunt,  Edward,  412,  474,  479. 

Blount,  Penelope  Devereux  Rich,  Countess 
of  Devonshire,  74. 

Blundeville,  Thomas,  Ixiii,  304,  305,  323* 
335,  395,  397. 

Blurt,  Master  Constable,  94. 

Boaistuau  de  Launai,  Pierre,  13,  14,  90,  224. 

Boas,  F.  S.,  210,  211,  217,  219,  327. 

Boccaccio,  Giovanni,  xli,  xlii,  xlix,  Iv,  12,  13, 
15,  17,  18,  21,  37,  38,  43,  48,  49,  50,  51, 
54,  56,  58,  70,  72,  92,  97,  99,  106,  121,  124, 
151,  153,  204,  224,  227,  230,  233,  234,  235, 
236,  240,  345,  346,  354,  448,  449,  450,  468. 

Boccalini,  Trajano,  Ixxxi,  416,  438,  439, 

Bodley,  Sir  Thomas,  lix,  334,  500,  508. 

Boiardo,  Matteo  Maria,  Count,  152,  153. 

Boke  of  Wisdom  otherwise  called  the  Flower 
of  Vertue,  The,  451,  452,  455. 

Boleyn,  Queen  Anne,  469. 


INDEX 


523 


Bonarelli  della  Rovere,  Guidubaldo,  Count, 

213,  214,  219. 
Bond,  R.  Warwick,  215,  216,  469,  470,  479, 

480. 

Bongi,  Salvatore,  480. 
Bonham,  D.,  338. 
Boniface  III.,  246. 

Boniface  VIII.  (Benedict  Cajetan),  91. 

Bonini,  Pietro  Andrea,  163. 

Bonnivet,  Seigneur  de.     (see  Guilliaume 

Gouffier). 
Booth,  Richard,  321. 
Borde,  Andrew,  Ixx,  100. 
Borgarucci,  Giulio,  Ixii. 
Borgarucci,  Prospero,  Ixii. 
Borghese,  Camillo  (Paul  V). 
Borgia,  Cesare,  420,  421,  422. 
Borgia,  Lucrezia,  1. 

Borromeo,  Carlo,  Saint,  271,  280,  384. 
Borromeo,  Vita  di  S.  Carlo,  271. 
Borromeus,  The  Life  of  S.  Charles,  271. 
Borrow,  L.,  331. 

Boscdn  Almogaver,  Juan,  190,  350. 
Boswell,  James,  448. 

Botero,  Giovanni,  Benese,  384,  385,  386, 
415. 

Bourchier,  Elinor  Manners,  Countess  of 

Bath,  25. 
Bourne,  H.  R.  Fox,  323,  490. 
Bowes,  Sir  Jerome,  28. 
Bowes,  Robert,  44. 
Bozi,  Paolo,  163. 
Br.  Gent.,  Fr.,  187. 
Bracciolini,  Francesco,  187. 
Brackyn,  Francis,  209. 
Braddon,  M.  E.,  96,  241. 
Braham,  Robert,  223. 
Bramante,  Donato  d'  Angnolo,  269. 
Brathwaite,  Richard,  105. 
Braunche,  William,  7. 
Bray,  Edmund,  376. 
Brent,  Sir  Nathaniel,  276,  277. 
Brent,  William,  442. 
Bretnor,  Thomas,  337,  338. 
Breton,  The  Complete  Works  in  Proae  and 

Verse  of  Nicholas,  79,  475. 
Breton,  Nicholas,  xlviii,  xlix,  Ixxiii,  79,  474, 

475. 

Brevi  dimonstrationi  et  precetti,  Parte  prima 

delle,  497. 
Brevio,  Giovanni,  106. 
Brides  Good-morrow,  The,  240. 
Bridget,  or  Brigit,  or  Bride,  Saint,  272. 
Brief  Ricit  de  la  Navigation  faites  is  isles  da 

Canada,  376. 
Bright,  B.  H.,  497. 
Bristowe,  Francis,  187,  203. 
British  Bibliographer,  31,  145,  154,  204,  212, 

228,  313. 
Brocardo,  Giacopo,  402,  403. 
Broke,  Arthur,  224,  225. 


Broken  Heart,  The,  42. 

Broken  Heart,  The  {Dramatic  Scenes  and 

Other  Poems),  95. 
Brome,  Alexander,  103. 
Brooke,  Samuel,  219. 
Brown,  Edward,  485,  486. 
Browne,  Anthony,  1st  Viscount  Montague 

(Montacute),  Ixx,  397. 
Browne,  Thomas,  460. 
Browne,  William,  Ixxiv. 
Browning,  Robert,  388. 
Bruni,  Leonardo  (Aretino),  150,  151,  395. 
Bruno,  Giordano,  li,  Ix,  Ixiii,  Ixxxi,  490,  491, 

492,  494,  495,  509. 
Bruno,  Giordano,  491. 

Bruno,  o  la  Religione  del  Pensiero,  G.,  494, 
495. 

Brusoni,  Girolamo  Francesco,  108. 
Brutus,  Marcus  Junius,  402. 
Brydges,   George,   6th   Baron  Chandos, 
Ixxvi. 

Brydges,  James,  3d  Duke  of  Chandos, 
Ixxv. 

Brydges,  Sir  Samuel  Egerton,  38,  57,  60, 

166,  228,  259. 
Bryskett,  Lodowick,  or  Lewis,  476,  477,  478. 
Bryskett  and  Bernardo    Tasso,  Lodowick, 

478. 

B's  Tales,  or  The  Quintessence  of  Wit,  93. 

Buchanan,  George,  211. 

Bucolica  seu  adolescentia,  114. 

Bucolics  of  Baptist  Mantuan,  The,  114. 

Budd,  G.  W.,  128,  173. 

Buggbears,  The,  215,  216. 

BuUen,  A.  H.,  93,  105,  128,  129,  155,  158, 

160,  166,  206,  284,  447,  502. 
BuUinger,  Henri,  245,  248,  258. 
Bunyan,  John,  255. 
Buoncampagni,  Ugo  (Gregory  XIII). 
Buondelmonti,  Zanobi,  307,  417. 
Buoni,  Tommaso,  478. 
Burbage,  Richard,  101. 
Burnet,  Gilbert,  278. 
Burney,  Charles,  231. 
Burns,  Robert,  231. 
Burton,  Robert,  84. 
Burza  Reale,  La,  363,  364. 
Busenello,  Giovanni  Francesco,  192. 
Busy  Body,  The,  94. 
Butler,  Samuel,  241. 

Byrd,  William,  xUx,  128, 129,  130,  131,  132, 

141,  142,  191. 
Byron,  George  Gordon,  6th  Lord  Byron, 

xlvii,  xlix,  230. 

C,  G.,  262. 
C,  H.,  37. 
C,  J.,  15,  96. 
C,  R.,  84. 

C,  T.,  Gent,  282,  233. 

Cabala  del  Cavallo  Pegaseo,  495. 


524 


INDEX  . 


Cabestaing,  or  Cabestan,  Guillem  de,  235, 
Cabot,  Of  the  viages  of  .  .  .  Sebastian,  373. 
Cabot,  Sebastian,  373. 
Caccia,  La,  502. 

Cacciaguerra,  Girolamo,  or  Buonsignore, 
273. 

Caesar,  Caius  Julius,  36,  309,  402,  414. 
Caesar,  Sir  Julius,  Ixii,  375. 
Caesar es,  R.  P.  E.  Thesauri,  515. 
Cajetan,  Benedict  (Boniface  VIII).  ' 
Calandra,  448. 
Caldecott,  Thomas,  85. 
Calendar  State  Papers  (Scotland),  44. 
Calila  et  Dimna  ou  Fables  de  Bidpai  en 

Arabe,  457. 
Calvin,  John,  lix,  245, 249, 253, 254, 268, 269. 
Camber,  xxxix. 
Cambi,  Bartolommeo,  284. 
Cambini,  Andrea,  394. 
Camden,  William,  249. 
Camilli,  Camillo,  331,  332. 
Camoes,  Luiz  de,  213. 

Campanella  .  .  .  his  Advice  to  the  King  of 

Spain,  Thomas,  441. 
Campanella,  Tommaso,  437,  441. 
[Campbell,]  Autobiography  and  Memories  of 

George  Douglas,  8th  Duke  of  Argyle,  278. 
Campeggi,  Ridolfo,  151. 
Campion,  Thomas,  166,  233. 
Campo  di  Fior,  Ixxvi,  349. 
Cannetto,  Galeotto  del,  178. 
Canossa,  Lodovico  da,  449. 
Canterbury  Tales,  The,  15,  18,  240,  363. 
Canzonets  or  Little  Short  Aers  (Morley), 

126. 

Canzonets  or  Little  Short  Songs,  145»  154, 
179. 

Canzonets,  The  First  Booke  of,  142, 
Capell  Collection,  27,  32,  50,  80.  89,  97,  200, 
224,  225. 

Capella,  or  Capra,  Galeazzo  Flavio,  479, 
481. 

Capello,  Bianca,  98. 
Capilupi,  Lelio,  505. 

Capilupi  Mantuani  Cento  ex  Vergilio,  Laelii, 
505. 

Capriata,  G.  B.,  441. 

Capriata,  Pietro  Giovanni,  441. 

Capricci  del  Bottaio,  I,  257. 

Caracalla,  or  Caracallus  (Marcus  Aurelius 

Antoninus,  originally  Bassianus),  393. 
Caraccioli-Caraccioli,  Roberto,  7. 
Caraccioli,  Vici  Marchionis  vita  Galeacii, 

269. 

Caracciolo,  Don  Ferrante,  456. 
Caracciolo,  Galeazzo,  267,  268,  269. 
Caracciolo,  Storia  della  vita  de  Galeazzo,  268. 
Caraflfa,  Giovanni  Pietro  (Paul  IV). 
Cardan  his  three  bookes  of  Consolation  Eng- 
lished, 458. 
Cardano,  Girolamo,  Ixii,  Ixiii,  458. 


Cardan's  Formula,  Ixii. 
Cardanus  Comforte,  Ixii,  458. 
Care,  Henry,  481. 
Care-charming  Sleep,  Ivi. 
Carew,  Richard,  140,  158,  331,  332. 
Carew,  Thomas,  Ixxv,  331,  418,  419,  492. 
Carey,  or  Carew,  Elizabeth  Spencer,  Ixxiv, 
138,  139. 

Carey,  Henry,  Baron  Hunsdon,  Earl  of 

Dover,  127,  211. 
Carey,  Henry,  Earl  of   Monmouth,  Ixxx, 

418,  425,  426,  435,  436,  437,  438,  440,  441, 

442. 

Carill,  or  Caryll,  Euphemia  or  Elizabeth, 
146. 

Carlell,  Lodowick,  13,  42,  68. 
Carleton,  Sir  Dudley,  166. 
Carlo  Emanuele  I,  Duke  of  Savoy,  104. 
Carlo  Emanuele  II,  212. 
Carlo  Magno  Imperadore,  La  vita  di,  488» 
498. 

Carlton,  Richard,  161. 

Carmeni,  Francesco,  107. 

Carr,  Edward,  413. 

Carr,  Ralph,  413. 

Carr,  Robert,  413. 

Carr,  William,  413. 

Carrifire,  Moritz,  491. 

Cartari,  Vincenzo,  76,  79. 

Carter,  Nicholas,  338. 

Cartier,  Jacques,  376,  377. 

Cartier,  A  Memoir  of  Jacques,  377. 

Cartier,  Relation  Originale  du  Voyage  de 

Jacques,  377. 
Cartwright,  Julia  (Mrs.  Ady),  451. 
Cartwright,  William,  96. 
Casa,  Giovanni  della,  Ixxxi,  297,  459,  460, 

461,  462,  463,  464,  465,  466,  507. 
Casa,  Nicholas,  507. 

Casa,  Rime  et  Prose  di  Giovanni  della,  461. 

Casa,  Santa,  269. 

Casaubon,  Isaac,  292. 

Casibus  Virorum  et  Foeminarum  Illustrium, 

De,  99. 
Casoni,  Guido,  191. 
Cassandre,  George,  513. 
CasselVs  National  Library,  48,  200. 
Castelnau  de  la  Mauvissidre,  Michel  de, 

Ix,  490,  509. 
Castelvetri,  Giacopo,  510,  511. 
Castiglionchio,  Lapo  (Jacopo)  di,  113. 
Castiglione,  A.  P.,  446. 
Castiglione,  Baldessare,  Count,  21,  39,  351, 

354,  445,  446,  448,  450,  462,  480,  506. 
Castiglione,  Giovanni  Battista,  xxxvii,  487, 

488. 

Castiglione,  The  Perfect  Courtier,  Baldas- 
sare,  451. 

Castilionis  comitis  de  Curiale,  Balthasaris, 
506. 

Castle  of  Delight,  The,  31,  32. 


INDEX 


525 


Castracani,  Castruccio,  417,  420,  421,  422, 

Castracani  da  Luca,  La  Vita  di  Castruccio, 
421,  422. 

Castriota,  orCastriot,  George  (Scanderbeg), 
394. 

Catalogue  of  Early  English  Books,  55,  499. 
Catalogue  of  Romances  in  the  Department  of 

Manuscripts  of  the  British  Museum,  75. 
Cataneo,  Giralamo  (Novarese),  Ixiv,  319, 

320,  326. 
Catch  that  Catch  Can,  191, 
Catechismus  ...  a  Shorte  Instruction  into 

Christian  Religion,  487. 
Catechismus  pro  pueris  et  Juventate,  486. 
Caterinus   Senensis,   Dr.   (see  Ambrosio 

Catherine  da  Siena). 
Catharina  da  Siena,  Vita  miracolosa  delta 

seraphica  Santa,  270. 
Catharine,  or  Catherine  of  Siena,  Saint,  270, 

271. 

Cathechismo,  cioh  forma  breve  per  amaestrare 

i  fanciulli,  Iviii,  486,  500. 
Catherine  of  Braganza,  Queen,  481. 
Catherine  of  Sienna,  The  Life  of  the  blessed 

Virgin,  Saint,  263,  270,  273. 
Catherine,  Ambrosio,  da  Siena  (see  Lan- 

cellotto  Politi) . 
Cats,  Jakob,  211. 
Catullus,  Caius  Valerius,  130,  174. 
Causa,  Principio,  et  Uno,  etc.  De  la,  490. 
Cause  della  Grandezza  delle  cittd,  Delia,  415. 
Cavaccio,  Giovanni,  163. 
Cavallerizzo,  II,  323. 
Cavallo,  La  Gloria  del,  323. 
Cave,  The,  456. 
Cavendish,  Sir  Charles,  155. 
Cavendish,  Elizabeth,  Ixviii. 
Cavendish,  Michael,  161,  383. 
Cavendish,  Spencer  Compton,  8th  Duke  of 

Devonshire,  466. 
Cavendish,  Thomas,  65,  383. 
Cavendish,  Sir  William,  Ixvii,  Ixviii. 
Caxton,  William,  224. 
Cebete  Thebano,  482. 
Cecchi,  Giovammaria,  216. 
Cecil,  Mildred  Cooke  (Lady  Burghley), 

Ixxii,  249,  250. 
Cecil,  Robert,  first  Earl  of  Salisbury,  142, 

362,  476. 

Cecil,  Sir  Thomas,  first  Earl  of  Exeter, 

second  Lord  Burghley,  34. 
Cecil,  William,  Lord  Burghley,  xl,  Ivi,  Iviii, 

Ixxii,  111,  249,  362,  395,  404.  424,  425, 

487,  493,  496. 
Cecil,  William,  second  Earl  of  Salisbury,  99. 
Cecil  Papers,  493. 

Celiano,  Livio,  xliii,  61,  124,  155,  163,  165. 
Cena  de  le  Ceneri,  La,  li,  Ix,  490. 
Cene,  Le,  6. 

Censura  Literaria,  79,  131,  132,  268,  311, 
413,455. 


Cent  Nouvelles  Nouvelles,  Les,  3,  6,  100,  103. 

Centlivre,  Susannah,  13,  94,  151. 

Cepari,  VirgiUo,  275,  284,  285. 

Cephalus  and  Procris,  30. 

Certain  Tragicall  Discourses  of  Bandello,  18. 

Certaine  Conceptions  or  Considerations  of  Sir 

Percy  Herbert,  455. 
Certaine  Conceyts  and  Jeasts,  4,  90. 
Certaine  devout  considerations  of  frequenting 

the  Blessed  Sacrament,  373. 
Certaine  Tragicall  Discourses,  Ixxii,  16,  18, 

28,  32,  144,  232. 
Certaine  Worthye  Manuscript  Poems,  13, 150. 
Certayne  Chapters  .  .  .  of  Solomon  .  .  .  and 

.  .  .  Psalmes  .  .  .  translated  into  English 

Metre,  318. 
Certen  Tragicall  Cases  conteyninge  LV.  his- 
tories, 58. 
Cervantes,  Miguel  de,  53,  58,  76. 
Chaine  of  Golden  Poems,  A,  214. 
Challenge  for  Beauty,  A,  1,  94. 
Chalmers,  Alexander,  182. 
Chamberlain,  John,  166,  209. 
Chambre,  John,  Ixi,  Ixii,  316. 
Chapman,  Frederic,  288. 
Chapman,  George,  Ixxvii,  98,  164,  179,  180, 

186,  472,  473. 
Chappell,  William,  141. 
Chappuis,  Gabriel,  64,  332,  413,  414,  445, 

469,  478. 

Charlemagne,  or  Charles  the  Great,  402, 
488. 

Charles,  Archduke  of  Austria,  xxxvii,  xxxviii. 
Charles  I,  157,  185,  186,  211,  219,  366,  415, 

416,  418,  426,  429,  430,  492,  514. 
Charles  II,  Ixxix,  212,  357. 
Charles  V  (France),  80. 
Charles  V  (Holy  Roman  Empire),  268,  372, 

375,  480. 
Charles  IX  (France),  430. 
Charrier,  Jehan,  314. 
Chatsworth  Library,  466. 
Chaucer,  Geoffrey,  xliii,  xlvi,  15,  18,  117, 

153,  183,  224,  240,  241. 
Cheasts,  The  pleasaunt  and  wittie  playe  of 

the,  liii,  311,  313. 
Cheke,  Henry,  37,  202,  203. 
Cheke,  Sir  John,  Ixiii,  203,  256. 
Chertsey  Worthies'  Library,  79,  185,  475. 
Chesse-play,  Ludus  Scacchiae:  312. 
Chester,  Robert,  63,  163,  164,  165. 
Chetham  Library,  363. 
Chettle,  Henry,  37,  96,  224,  241. 
Cheynie,  or  Cheyney,  Lady,  203. 
Chigi,  Fabio  (Pope  Alexander  VII). 
Chilmead,  Edmund,  341,  434,  437,  441. 
Chilmead,  John  [Edmund?],  341. 
China,  A  Discourse  of  the  Kingdom  of,  388. 
China,  Certain  reportes  of  the  province  of,  374. 
Chirurgerie,   A  short  discourse  .  .  .  uppon, 

321. 


526 


INDEX 


Chirurgia  parm  Lanfranci,  Lanfranke  of 
Mylayne  his  briefe,  Ix,  314)  315,  318. 

Chiswell,  Richard,  485. 

Choice  Novels  and  Amorous  Tales  Written 
by  the  most  refined  Wits  of  Italy,  107. 

Choice  of  Emblemes,  A,  470. 

Chosroes  II,  187. 

Chronicle  of  the  English  Drama,  10,  25,  140, 
203,  233. 

Churchyard,  Thomas,  Ixxiv,  233,  331,  458. 
Chytraeus,  Nathan  (Kochhoff),  461,  466, 
507. 

Cicero,  Marcus  Tullius,  347,  447,  448. 

Cintia,  La,  211. 

Cioli,  Andrea,  501. 

Cipriano,  Giovanni,  333. 

Circe,  La,  11. 

Circes,  10,  257. 

Circulation  of  the  blood,  Discovery  of  the, 

Ixi,  293,  294,  295. 
Cirurgia  delV  eccelen.  Dottore  .  .  .  Leonardo 

Fioravanti,  322. 
Citolini,  Alessandro,  460. 
City  Nightcap,  The,  55,  58,  95,  96,  227. 
Civil  conversatione  del  Signor  Stefano  Guazzo, 

La,  469. 

Civile  Conversation  of  M.  Stephen  Guazzo, 
The,  450,  468,  469. 

Civill  Considerations,  413. 

Clapham,  David,  481. 

Claris  legum  interpretibus,  De,  508. 

Claris  Mulierihus,  De,  30. 

Claudianus  (Claudius),  77,  78,  189. 

Clement,  Margaret  Giggs,  Ixxii. 

Clement  VII  (Giulio  de'  Medici),  171,  184, 
371,  405,  485,  486. 

Clement  VIII  (Ippolito  Aldobrandini),  292. 

Clerk,  John,  504. 

Gierke,  Bartholomew,  446,  506. 

Clerk's  Tale,  The,  240. 

Clifford,  Margaret  Russell,  Countess  of 
Cumberland,  Ixxviii. 

Clifton,  Sir  Gervais,  54,  154. 

Clinton,  Edward  Fiennes  de,  Earl  of  Lin- 
coln, 394. 

Clinton,  Sir  Henry,  321. 

Cobbold,  William,  161. 

Cohler  of  Caunterburie,  The,  54,  55,  56,  100. 

Coccio,  Francesco  Angelo,  480,  481,  482. 

Cochinchina,  389. 

Cockle,  Maurice  J.  D.,  280,  307. 

Cockson,  or  Coxon,  Thomas,  135. 

Codrington,  Robert,  68,  70,  208. 

Coelia,  177,  178. 

Caelum  Britannicum,  492. 

Cogan,  Henry,  436,  437. 

Cokayne,  Sir  Aston,  107,  108,  214. 

Cokayne,  Lady  Mary  O'Brien,  107. 

Coke,  Sir  Edward,  127. 

Coleman,  Mr.  R.,  191. 

Coleridge,  Samuel  Taylor,  447. 


Colin  Clouts  Come  Home  Againe,  Ixxiii,  139, 
478, 

Collezione  degli  Erotici  Greci,  482. 

Collier,  J.  P.,  32,  44,  45,  60,  74,  80,  82,  93, 

97,  166,  173,  200,  224,  226,  233,  240,  361. 
Collins,  John  Churton,  254. 
Colonna,  Fabrizio,  307. 
Colonna,  Francesco,  329,  330,  331. 
Colonna,  Vittoria,  245. 
Colonne,  Guido  delle,  223,  224. 
Columba,  Saint,  272. 
Columbano,  Orazio,  163. 
Columbeidos,  J.  C.  Stellae,  510. 
Columbus,  Christopher,  Ixxx,  371,  372,  396. 
Columbus,  Ferdinand,  396. 
Comedia  de  los  Enganos,  45. 
Comedia  famosa  del  mayordomo  de  la  du^uesa 

de  Amalfi,  16. 
Comedy  of  Errors,  The,  84. 
Comentaries,  Most  fruitfull  and  learned,  255. 
Comfortable  ayde  for  Schollers,  A,  349. 
Commentaries  of  D.  P.  Martir  Vermilius, 

Most  learned  and  fruitfull,  357. 
Commentaries  on  the  Turks,  113. 
Commentarii,  In  Librum  Judicum  ...  P.  M. 

Vermilii  .  .  .,  256. 
Commodus,  Lucius  Aelius  Aurelius  (Marcus 

Antoninus),  393. 
Common  Places  of .  .  .  Doctor  Peter  Martyr, 

361. 

Communes  D.  P.  Martyris  Vermilii,  Loci, 
262. 

Complaint  of  Lorde  Alberto  and  Udissas,  The, 
33. 

Complaints,  Ixxiv,  137,  138. 
Compleat  Angler,  The,  288,  341. 
Compleat  Gentleman,  The,  xlix,  135,  171. 
Comptes  du  Monde  Avantureux,  14. 
Compton  and  Monteagle,  Lady  (see  Anne 

Spencer  Stanley  Compton  Sackville). 
Comus,  Ixxv. 

Conceites,  The  booke  of  Prittie,  361. 
Conceites,  The  Welspring  of  wittie,  361. 
Concejo  i  Consejeros  del  Principe,  El,  395. 
Concilio,  overo  Conciglio  et  i  consiglieri  del 

Prencipe,  II,  395. 
Conditionum  Liber  Singularis,  511. 
Conestaggio,  Girolamo-Franchi  de,  412. 
Conflict  of  Conscience,  The,  254. 
Congo,  A  Reporte  of  the  Kingdome  of,  38!S. 
Congo,  Relatione  del  Reame  d',  383. 
Conjugali  Charitate,  De,  21. 
Conquista  de  Mejico,  372. 
Consider ationes  Civiles,  414. 
Consider ationi  Civili  sopra  VHistorie  di  F. 

Guicciardini,  413. 
Consider  ationi  .  .  .  delta  vite  d'Alcibiade  e  di 

Coriolano,  432. 
Considerations  upon  the  Lives  of  Alcibiades 

and  Coriolanus,  433. 
Consolatione  libri  tres,  H.C.. . .  De,  Ixii,  458. 


INDEX 


527 


Consort  Lessons,  141.  ^ 
Constable,  Henry,  37,  166,  180. 
Contarini,  Ambrogio,  347,  389,  390. 
Contarini,  Gasparo,  Cardinal,  Bishop  of 

Belluno,  408,  409,  411,  412. 
Conte  d'Anguersa,  II,  38. 
Contempte  of  the  World  and  the  Vanitie 

thereof,  The,  363. 
Contemptu  mundi  sive  de  miseria  humanae 

conditionis,  De,  260. 
Contention  for  Honour  and  Riches,  A,  95,  231. 
Contes  et  Nouvelles  Poemes,  55. 
Conti,  Lotario  (Innocent  III). 
Conversi,  Geronimo,  129,  133. 
Conybeare,  John  Josias,  3,  4. 
Cooke,  Anne  (see  Lady  Bacon). 
Cooke,  Anne  Fitzwilliam  (Lady  Cooke),  251. 
Cooke,  Anthony,  xliv. 

Cooke,  Sir  Anthony,  Ixxii,  248,  249,  256, 
258. 

Cooke,  Joshua,  45. 
Coote,  C.  H.,  382. 
Cope,  Charles  West,  241. 
Cope,  Edward,  39. 
Copernican  theory,  li,  Ixiii,  336. 
Copp6e,  Francois,  189. 
Coralbo,  II,  104. 
Coriolanus,  12. 

Coriolanus,  Cnaeus  Marcius,  12,  402,  432. 

Cornaro,  Luigi,  Ix,  339,  340. 

Corneille,  Pierre,  61. 

Cornell  University  Library,  417,  469. 

Cornwall,  Barry,  1,  95. 

Correggio  (Antonio  Allegri,  da),  151. 

Corrozet,  Gilles,  9. 

Cortano,  Lodovico,  279. 

Corte,  Claudio,  Ixiv,  323. 

Cortegiano  del  Conte  Baldessare  Castiglione, 

II  Libro  del,  Ixxi,  Ixxii,  Ixxxi,  351,  445, 

446,  448,  450,  451,  462. 
Cortds,  Herndn,  372. 
Coryat,  Thomas,  Ixiv,  410,  411. 
Coryats  Crudities,  410. 
Corydon's  Farewell  to  Phyllis,  176. 
Costa,  Gasparo,  163. 
Cotta,  Fabio,  313,  314. 
Cotterell,  Sir  Charles,  430. 
Cotter's  Saturday  Night,  The,  231. 
Countess  of  Celant,  The,  16,  32,  49. 
Countess  of  Salisbury,  The,  14. 
Countesse  of  Celant,  The  Disordered  Lyf  of 

the,  19,  32. 

Countesse  of  Pembrokes  Ivychurch,  The,  125, 

126,  128,  136,  137. 
Court  of  Civill  Courtesie,  The,  466. 
Court  of  Rome,  The,  437. 
Court  of  Virtue,  etc..  The,  318. 
Courtenay,  Edward,  Earl  of  Devonshire, 

296,  297. 
Courteous  Salimbeni,  The,  19. 
Courthope,  William  John,  Ixxiii,  423. 


Courtier,  The  Book  of  The,  446,  451,  462. 
Courtiers  Academic,  The,  154. 
Courtlie  Controversie  of  Cupids  Cautels,  A, 
34,  35. 

Courtyer:  A  Possible  Source  of  Benedick  and 

Beatrice,  The  Book  of,  451. 
Courtyer  of  Count  Baldessar  Castilio,  The, 

21,  445,  446,  447,  450,  506. 
Covent  Garden  Weeded,  The,  lii. 
Coverley,  Sir  Roger  de,  428. 
Cowley,  Abraham,  215. 
Cox,  Richard,  505. 
Coxeter,  Thomas,  213. 
Crabbe,  George,  278. 
Cradock,  Edward,  460. 
Cranfield,  Lionel,  Earl  of  Middlesex,  414. 
Cranmer,  Memorials  of  Archbishop,  Ivii. 
Cranmer,  Thomas,  Ivi,  Iviii,  lix,  245,  247, 

248,  253,  487. 
Crashaw,  Richard,  xlvii,  188,  189,  268,  270. 
Crashaw,  William,  267,  268. 
Crasso,  Leonardo,  329,  330. 
Crespin,  Jean,  203. 
Cressid's  Complaint,  32. 
Croce,  Giovanni  (Chiozzotto) ,  130, 131, 163, 

171. 

Croce  Racquistata,  La,  187. 
Croesus,  12. 
Croesus  and  Solon,  12. 
Croft,  H.  H.  S.,  226. 
Cromer,  WilUam,  111. 
Cromwell,  Oliver,  73,  158,  290. 
Cromwell,  The  Life  and  Death  of  Thomas, 
Lord,  42. 

Cruel  Gift,  or  The  Royal  Resentment,  The, 

13,  94,  151. 
Cruell  Subtility  of  Ambition,  The,  285. 
Crueltie  of  a  Wydowe,  The,  20,  97,  232. 
Cuck-queanes  and  Cuckolds  Errants,  or  The 

Bearing  Down  the  Inn,  The,  14. 
Cunning  Lovers,  The,  103. 
Cunningham,  Peter,  182,  229. 
Cup,  The,  1,  30,  31. 
Cupid  Crucified,  189,  190. 
Cupid's  Revenge,  51. 
Cupid's  Whirligig,  95. 
Curiatius  and  Horatia,  30. 
Curioni,  Celio  Agostino,  398. 
Curioni,  Celio  Secondo,  254,  257,  260,  287, 

288. 

Curionis  Christianae  Religionis  institutio, 
C.  S.,  260. 

Curiosissime  nouvelle  amorose,  Le,  108. 

Curiosities,  or  The  Cabinet  of  Nature,  479. 

Curioso  Impertinente,  58. 

Cust,  Henry,  306,  405,  421. 

Cymbeline,  58,  94,  97. 

Cymon  and  Iphigenia,  233. 

Cymon  and  Iphigenia,  A  pleasant  and  de- 
lightful History  of  Galesus,  333. 

Cynthia's  Revels,  Ivi. 


528  INDEX 


Cyprus,  The  Narration  of  the  Warres  of,  413. 

Cyprus,  The  Wars  of,  440. 

Cyrus  and  Panthea,  13. 

Cyrus,  King  of  Persia,  The  Warres  of,  13. 

D.,  R.,  328. 

Daborne,  Robert,  422. 

Dacres,  Edward,  306,  417,  421,  422. 

Dalida,  La,  210. 

Dallington,  Sir  Robert,  365. 

Dallyngton,  Robert,  328. 

Dancer,  John,  215. 

Danett,  Thomas,  xlvi,  404. 

Daniel,  Arnaut,  66. 

Daniel,  John,  185,  186. 

Daniel,  P.  A.,  224. 

Daniel,  Samuel,  xlvii,  li,  Ixxiii,  Ixxviii,  182, 

183,  184,  185,  186,  204,  205,  468,  472. 
Daniel,  Monument  of  Samuel,  Ixxviii. 
Daniel,  The  Complete  Works  in  Verse  and 

Prose  of  Samuel,  186. 
Daniel  Esquire  in  Poetrie,  The  Whole  Workes 

of  Samuel,  185,  208. 
Dante,  Alighieri,  xlii,  liv,  Iv,  Ivi,  6,  43,  66, 

72,  124,  183,  345,  346,  355. 
Dante  and  his  Circle,  193. 
Dares  Phrygius,  223. 
Daunce,  Elizabeth  More,  Ixxii. 
Dauncing,  A  briefe  Treatise  Concerning  the 

Use  and  Abuse  of,  361. 
Dauncinge  and   Minstrelsye,   A  Dialogue 

.  .  .  concerning  the  Use  and  Abuse  of,  lii. 
Davenant,  Sir  William,  14,  42,  43,  48,  71, 

236,  405,  406,  418,  436. 
Davenant,  The  Works  of  Sir  William,  436. 
Davenport,  Robert,  55,  58,  95,  96,  227. 
David  Persecuted,  439. 
Davide  Perseguitato,  II,  429. 
Davies,  John,   of  Hereford,  Ixxiv,  Ixxv, 

Ixxvii,  172. 
Davies,  Sir  John,  xliii,  166. 
Davila,  Enrico  Cattarino,  430. 
Davison,  Francis,  124,  166,  167,  168,  180. 
Davison,  M.  Peter,  77. 
Davison,  Walter,  166. 
Davison,  William,  166. 
Day,  Angel,  472. 
Day,  John,  lii,  5,  101,  408. 
Day,  or  Daye,  John  (printer),  256. 
Decades  of  the  newe  worlde  or  West  India, 

The  [three],  371,  372,  373. 
Decades  tres,  De  rebus  oceanis  et  orbe  Novo, 

371,  372,  375. 
Decameron,  containing  An  hundred  pleasant 

Novels,  The,  xli,  1,  4,  13,  15,  17,  18,  36,  37, 

38,  48,  54,  55,  56,  57,  58,  70,  72,  82,  85,  91, 

93,  93,  97,  100,  106,  116,  121,  127,  150, 

152,  153,  217,  226,  229,  233,  234,  240, 

456,  458. 

Decameron  in  English  drama,  93,  94,  95,  96. 
Decameron,  Landscape  of,  72,  73. 


Decameron  of  Giovanni  Boccacci  {II  Boc- 
caccio), The,  93. 
Decameron  of  Giovanni  Boccaccio  faithfully 

translated  by  James  Macmullen  Rigg,  93. 
Decameron,  The  Poetical,  226. 
Decameron  Preserved  to  Posterity  by  Giovanni 

Boccaccio,  The,  93. 
Decamerone  di  Boccacio,  II,  xli,  91,  448. 
Declaration  of  the  Causes  mooving  the  Queene 

of  England,  495,  496,  499. 
Declaration  of  the  True  Causes  of  the  Great 

Troubles,  A,  250. 
Declaration  of  the  Variance  between  the  Pope 

and  the  Seigniory  of  Venice,  A,  364. 
Decline  and  Fall  of  the  Roman  Empire,  The, 

71,  187,  394. 
Decretum  Sacrae  Congregationis  .  .  .  Cardi- 

nalium  .  .  .  ad  ludicem  Librorum,  274. 
Defence  of  Contraries,  The,  59. 
Defense  of  Poesie,  The,  xlviii,  li. 
Dekker,  Thomas,  xlviii,  4,  45,  96,  106,  224, 

241,  447. 
Delia,  Ixxiii,  182,  183,  186. 
Delights  of  the  Muses,  The,  188. 
Denham,  Sir  John,  212. 
Denny,  Edward,  Earl  of  Norwich,  172. 
Descriptio  anno  do.  md.lxxxviii,  Expedi' 

tionis  Hispanorum  in  Angliam  vera,  403. 
Description  of  Beauty,  A,  186. 
Description  of  England  and  Scotland,  A, 

xxxviii. 

Description  of  the  Low  countreys.  The,  404. 
Descrittione  del  regno  di  Napoli,  438. 
Descrittione  .  .  .  di  tutti  i  Paesi  Bassi,  404. 
Desp§rieres,  Bonaventure,  329. 
Desportes,  Philippe,  xliv,  168,  169. 
Despotine,  Jasper,  Ixii. 

Destruction  of  Troy,  The  ancient  Historie  of 
the,  224. 

Destruction  of  Troy,  The  faythfull  and  true 

storye  of  the,  224. 
Deuteronomy,  Iviii. 

Devereux,  Robert,  Earl  of  Essex  and  Ewe, 

lix,  74,  132,  161,  164,  217,  218,  328,  398, 

473,  499,  508. 
Devil  and  his  Dame,  The,  106. 
Devil  is  an  Ass,  The,  37,  45,  94,  338. 
Devil's  Law-Case,  The,  83. 
Dialecticae  libri  duo  Scholiis  G.  Tempelli,  P. 

Rami,  509. 
Dialoghi  delta  vita  civile,  Tre,  477,  478. 
Dialogi  delle  nuove  scienze,  li. 
Dialogi  XXX,  Bernardini  Ochini,  etc.,  245, 

295. 

Dialogo  dei  due  massimi  sistemi  del  mondo,  li. 
Dialogo  .  .  .  delta  Institutione  delle  Donne, 
481. 

Dialogo  sulla  Morte,  Ixiii. 

Dialogue  between  Mercury  and  an  English 

Souldier,  A  right  excelent  and  pleasant,  38i 

225. 


INDEX 


529 


Dialogue  full  of  Pithe  and  Pleasure,  A,  474. 
Dialogue  of  Polygamy,  A,  li,  245,  246,  395. 
Dialogues    philosophiques  italien-franQois 

touchant  la  vie  civile,  478. 
Diana  (Constable),  180. 
Diana  (Montemor),  74,  75. 
Diana  de  Montemayor  done  out  of  Spanish,  74. 
Diana  of  George  of  Montemayor,  translated 

out  of  Spanish,  73,  74,  75. 
Dianea,  107. 
Dianea,  La,  107. 
DianSe,  La,  107. 

Dianora  and  Ansaldo,  or  The  Enchanted  Gar- 
den, 18,  49,  153. 

Dichiaratione  delle  caggioni,  495. 

Dichiaratione  della  cause  che  hanna  indotta 
la  .  .  .  Reina,  498. 

Dichiaratione  sopra  gli  XII  Articoli  della 
Fede  Christiana,  Una  semplice,  261. 

Dictionaire  Universel  du  XI Si^cle,  Grand, 
270. 

Dictionary  of  Music  and  Musicians,  131,  160, 
162. 

Dictionary  of  National  Biography,  25,  30,  74, 
98,  113,  160,  173,  288,  290,  339,  341,  412, 
459,  500,  506. 

Dictys  Cretensis,  223. 

Didaco  and  Violenta,  14. 

Didius  Commodus  Severus  Julianus,  Mar- 
cus, 393. 

Dido,  An  Inscription  for  the  Statue  of,  167. 

Dido,  O  sfortunata,  167. 

Didot,  Ambroise  Firmin,  488. 

Didot,  Hyacinthe  Firmin,  488. 

Diella,  20,  144. 

Dillon,  Sir  Robert,  476. 

Dingwell,  Richard,  Lord,  177. 

Diodati,  Charles,  504. 

Diodati,  Giovanni,  281. 

Direction  for  the  Health  of  Magistrates  and 
Studentes,  A,  318. 

Directorium  humanae  vitae,  vel  Parabole  Anti- 
quorum  Sapientum,  457. 

Discorsi  degli  Animali,  97. 

Discorsi  e  Dialoghi,  157. 

Discorsi  PoUtici,  440. 

Discorsi  sopra  il  prima  degli  Annali  di  Cor- 
nelia Tacito,  427. 

Discorsi  .  .  .  sopra  la  prima  deca  di  Tito  Li- 
vio,  405,  417,  425. 

Discorso  sopra  i  motti  ed  i  disegni  d'  arme  et 
amore,  468. 

Discorso  sopra  le  ragioni  della  risolutione 
fatta  in  Val  Telina,  etc.,  285,  286. 

Discours  d'Estat  .  .  .  contre  Nicol.  Machiavel, 
423,  424. 

Discourse  of  Civill  Life,  A,  476. 

Discourse  of  English  Poetrie,  A,  41. 

Discourse  of  Rinaldo  and  Giletta,  The,  32. 

Discourse  of  Lady  Barbara's  vertuous  beha- 
viours, The,  33. 


Discourse  of  Eoyall  Monarchic,  A  Brief e,  489. 
Discourse  of  the  great  crueltie  of  a  widow.  A, 
20,  333. 

Discourse  or  traietise  of  Peter  martyr  Vermill, 
A,  348. 

Discourse  touching  the  Spanish  Monarchy, 
A,  437. 

Discourse  upon  the  Reasons  of  the  Resolution, 

A,  385. 
Discourses,  Political,  440. 
Discourses  upon  Cornelius  Tacitus,  437. 
Disputationum  Decas  prima,  510. 
Dittamondo,  192,  193. 

Divell  a  Married  Man:  or  The  Divell  hath 

met  with  his  Match,  The,  106. 
Divine  Considerationi  del  S.  G.  Valdesso,  Le 

cento  e  died,  288. 
Divine  Considerations  by  John  Valdesso,  288. 
Divine  Dialogues,  455. 
Divine  Doctrine,  The  Book  of,  271. 
Divine  Herball,  or  The  Prayse  of  Fertility, 

A,  liii. 
Dobson,  W.  C.  T.,  455. 
Doctor  of  Laws,  14. 
Dodsley,  Robert,  206. 
Dogberry,  101,  238. 

Dolce,  Lodovico,  61,  64,  65,  198,  199,  395, 

414,  480,  481. 
Dolefull  Lay  of  Clorinda,  The,  Ixxiii. 
DoUe,  William,  503. 
Dom  Diego  and  Gineura,  20,  33,  144. 
Domenichi,  Lodovico,  5,  49,  80,  480,  481. 
Domenichi,  Luigi,  152,  153. 
Dominis  .  .  .  declares  the  cause  of  his  Returne 

out  of  England,  M.  A.  de,  379. 
Dominis  .  .  .  his  Shiftings  in  Religion.  A 

Man  for  Many  Masters,  M.  A.  de,  lix. 
Dominis,  Marco  Antonio  de,  Iviii,  lix,  273, 

274,  275,  276,  277,  279,  280,  501,  512,  513. 
Dominis  .  .  .  suae    Profectionis  Consilium 

exponit,  M.  A.  de,  274,  279,  613. 
Don  Bellianis,  75. 
Don  John  of  Austria,  432. 
Don  Juan,  xlix,  230. 

Don  Quixote,  of  the  Mancha,  The  History  of, 

53,  58,  76,  326. 
Don  Sebastian,  413. 

Don  Simonides,  a  Gentleman  Spaniarde,  45, 
46. 

Donatello  (Donato  di  Niccold  di  Betto 
Bardi),  331. 

Donati,  Edouardo,  25. 

Donato,  Baldessare,  129. 

Donato,  Leonardo,  264,  513. 

Doni,  Antonio  Francesco,  97,  456,  457,  458. 

Donne,  Anne  More,  Ixxvii. 

Donne,  John,  xlviii,  Ixxvii,  Ixxviii,  166. 

Donzella  Desterrada,  La,  104. 

Donzella  Desterrada;  or,  The  Banish'd  Vir- 
gin, 104. 

Dormer,  Lady,  189. 


530 


INDEX 


Dormer,  M.,  476. 

Dormer,  Sir  William,  Ixx. 

Douce  Bequest,  460,  461. 

Douce,  Francis,  328. 

Douglas,  Robert  Langton,  19. 

Dowden,  Edward,  13. 

Dowe,  Bartholomew,  327. 

Dowland,  John,  145,  158,  159, 160,  177,  182. 

Dowland,  Robert,  177. 

Drake,  Sir  Francis,  xlv,  xlvi,  64,  381,  382, 

383,  512. 
Drake,  Nathan,  xlvii,  22,  114. 
Drake,  Samuel,  446,  506. 
Dramatic  Scenes  and  Other  Poems,  95. 
Drant,  Thomas,  460. 
Draxe,  Thomas,  366. 

Drayton,  Michael,  xliv,  Ixxiii,  Ixxvi,  61, 143, 

156,  177,  178,  180,  207. 
Droome  of  Doomes  Day,  The,  358,  259,  260. 
Drout,  John,  233. 

Drummond,  William,  xlvii,  181,  183,  184, 

188,  234,  465. 
Dryden,  John,  xlvii,  xlix,  151,  158,  206,  207, 

230,  233. 
Ducci,  Lorenzo,  479. 
Ducento  Nouvelle  (Malespini),  4,  97. 
Duchess  of  Malfy,  The,  15,  16,  38,  42,  43,  49, 

73,  83. 

Dudley,  Ambrose,  Earl  of  Warwick,  11,  28, 
320. 

Dudley,  Anne  Russell,  Countess  of  War- 
wick, 409. 

Dudley,  Robert,  Earl  of  Leicester,  lix,  Ixii, 
Ixix,  27,  101,  138,  256,  305,  311,  312,  325, 
349,  395,  396,  397,  402,  456,  460,  470, 
471,  488,  489,  508. 

Dueil  sur  Dueil,  27. 

Dulce  Domum,  156. 

Dumb  Divine  Speaker,  The,  475. 

Dumb  Knight,  The,  16,  20,  42,  97,  232. 

Dunciad,  439. 

Dundee  (hymn),  231. 

Dunlop,  John  Colin,  6. 

Duns  Scotus,  Johannes,  90. 

Dupinet,  Antoine,  Sieur  de  Noroy,  459. 

Dupuy,  Henri  (Ericio  Puteano),  435. 

D'Urfey,  Thomas,  94. 

Dutch  Courtesan,  The,  14. 

DuVerdier,  Antoine,  Seigneur  de  Vaupri- 
vaz,  23,  63,  79. 

Dyce,  Alexander,  13,  204. 

Dyer,  Sir  Edward,  Ix,  497,  509. 

Dyets  Dry  Dinner,  liii. 

Dymoke  204,  213,  496. 

Dymoke,  Charles,  204. 

Dymoke,  Sir  Edward,  180,  186,  204,  468. 

Early  Plays  from  the  Italian,  215. 
Eaton  (hymn),  231. 

Eccellema  et  Dignita  delle  Donne,  Delia,  479, 
481. 


Echo,  190. 
Echo  song,  36. 

Echo's  Dirge  for  Narcissus,  Ivi. 

Eclogues  (Vergil),  350. 

Eclogues  of  Baptista  Mantuanus,  The,  115. 

Nicole  des  Maris,  L\  86. 

Eden,  Richard,  371,  373,  374,  375. 

Edmonds,  C,  36,  127. 

Edward  I,  26. 

Edward  II,  xlii. 

Edward  III,  193. 

Edward  III,  14,  42. 

Edward  IV,  425,  426. 

Edward  V,  425,  426. 

Edward  VI,  Ivii,  Iviii,  Ixii,  Ixiii,  Ixxii,  Ixxix, 
22,  86,  230,  231,  241,  245,  246,  249,  297, 
311,  346,  347,  389,  487,  498,  505. 

Edward  the  Confessor,  287,  428. 

Edwards,  Richard,  xlviii,  84,  119. 

Egerton,  Alice  Spencer  Stanley,  Countess  of 
Derby,  Ixxiv,  Ixxv,  Ixxvi,  138,  139. 

Egerton,  Francis,  Earl  of  Ellesmere  (born 
Francis  Granville  Leveson-Gower),  Ixxv. 

Egerton,  John,  1st  Earl  of  Bridgewater, 
Ixxv. 

Egerton,  Sir  Thomas,  Baron  Ellesmere, 

Ixxv,  Ixxvi,  Ixxviii,  415. 
Eglogs  of  the  Poet  B.  Mantuan,  The,  113,  351, 

507. 

Elagabalus  or  Heliogabalus,  originally  Va- 
rius  Avitus  Bassianus,  393. 

Elegy  written  in  a  Country  Churchyard,  Iv. 

Elizabeth,  Princess  of  Bohemia,  187. 

Elizabeth,  Queen,  xxxvii,  xl,  xli,  xlii,  xliii, 
xlvii,  xlix,  1,  Ivii,  lix,  Ix,  Ixii,  Ixvii,  Ixviii, 
Ixix,  Ixxii,  Ixxiii,  Ixxix,  Ixxxi,  20,  46,  56,  86, 
87,  90,  125,  126,  132,  134,  135,  138,  141, 
142,  157,  161,  162,  164,  166,  230,  240,  250, 
262,  274,  291,  307,  320,  399,  401,  402,  424, 
425,  428,  469,  470,  487,  488,  489,  498,  499, 
500,  508,  509. 

Elizabethan  Drama,  1668-1642,  205,  213, 
219. 

Elizabethan  English,  xlvi,  lii,  liii,  liv. 

Elizabethan  Lyrics,  58,  174. 

Elizabethan  portraits,  Ixix. 

Elwin,  Whitwell,  313. 

Elyot,  Sir  Thomas,  226. 

Elze,  Karl,  411,  412. 

Emerson,  Ralph  Waldo,  165. 

Empedocles,  li. 

Enforced  Choice,  The,  49. 

England's  Helicon,  xlviii,  xlix,  liv,  64,  66,  74, 

129,  141,  148,  168,  202. 
England's  Parnassus,  124. 
Englischen  Tasso-Ubersetzungen  des  16  jahr' 

hunderts,  Die,  236. 
English  Garner  (Arber's),  128,  155,  160. 
English  Garner.   Shorter  Elizabethan  Poems, 

An,  128,  155,  158,  160. 
English  hexameter,  128. 


INDEX 


531 


English  Lawyer,  The,  209. 

English  Poets,  Collection  of  the,  182. 

English  Reprints,  116. 

Englishmans  Doctor;  Or,  The  Schoole  of  Sa- 

lerne.  The,  169. 
Enimie  of  Idlenesse,  The,  liii,  347. 
Ennius,  Quintus,  89. 
Epaminondas,  310. 
Epictetus,  179,  435. 
Epigram  (Latin),  85. 
Epigrams  (by  Sir  John  Harington),  135. 
Epistle  for  the  godly  and  christian  Bringing 

up  of  Christian  Mennes  Children,  260. 
Epistle  of  the  famous  Doctour  Mathewe  Gri- 

balde,  A  notable  and  merveilous,  263. 
Epistle  unto  .  .  .  the  Duke  of  Somerset,  An, 

252. 

Epistola,  De  libro  Pyano  ad  J.  Howsonum, 
512. 

Epistola  Leonardi  Aretini  Guiscardi  et  Sigis- 

munda,  150. 
Epistolae,  Aureae  ad  familiares,  348. 
Epistolae  duae,  De  ludis  Scenicis,  514. 
Epistolae  duae,  In  Philadelphum,  348. 
Epistolae,  Illustrium  virorum,  348. 
Epistolam  S.  Pauli  Apostoli  ad  Romanes,  In, 

258. 

Epistolarum  libri  duodecim,  348. 
Epistolarum  P.  Manutii  libri  X,  507. 
Epistres    Dorees   Moralles    &  Familieres, 
459. 

Epitaph,  "Bess  of  Hardwick's,"  Ixix,  Ixx. 
Epitaph  on  the  death  of  Maister  Arthur  Brooke, 
225. 

Epitaphia  et  Inscriptiones  lugubres,  257,  482, 

506. 
Epitia,  48,  200. 

Epitomes  de  cent  histoires  tragiques,  Les,  60, 
65. 

Epulario  or  The  Italian  Banquet,  Ixiv,  333, 
334. 

Erasmus,  Desiderius  (Geert  Geerts),  Ixxii, 

114,  211. 
Eremita,  Giulio,  130,  163. 
Eromena,  or  Love  and  Revenge,  103. 
Eromena  divisa  in  sei  libri,  V ,  104, 
Espositione  .  .  .  sopra  un  libro  intitolato 

Apocalypsis  spiritus  secreti,  487. 
Essame  de  gV  ingegni  de  gli  huomini,  332. 
Essay  concerning  the  Human  Understanding, 

293. 

Essay  on  Man,  112. 

Essayes  or  Councils  Civill  and  Morall,  The, 

xlvi,  liii,  Ixxx. 
Essortatione  al  Timor  di  Dio,  Una,  487. 
Este,  Alfonso  I,  d',  1. 
Este,  Cardinal  Ippolito  d',  170,  172,  173. 
Este,  Ercole  I,  d',  1. 
Este,  Ercole  II,  d',  111. 
Este,  Isabel  la  d',  Marchioness  of  Mantua, 

Ixxv. 


Este,  Michael,  134,  161. 

Este,  Queen  Maria  d',  354. 

Estella,  Diego  de,  262. 

Estienne,  Charles,  218. 

Estienne,  or  ^Itienne,  Henri  2d,  84,  85,  393. 

Eulenspiegel  und    Alcoran,  Der  BarfUsser 

Milnche,  252. 
Euphemia  and  Acaristo,  38. 
Euphues,  46,  49. 

Eurialo  et  Lucretia,  et  de  remedio  amoris,  De 

duobus  amantibus,  8. 
Eurialus  and  Lucretia,  The  Historie  of,  7, 

117,  122. 
Euripides,  24,  197,  198,  199. 
Europa:  Cupid  Crucified:  Venus  Vigils,  189, 

190. 

Euryalus  and  Lucresia,  The  most  excellent 

Historie  of,  7. 
Evelyn,  John,  xliii. 

Everlasting  Proof  of  the  Falsehood  of  Popery, 
An,  255. 

Every  Man  out  of  his  Humour,  447. 

Evonymus,  302. 

Examen  de  Ingenios,  331,  332. 

Examine  di  varii  Giudicii  de  i  .  .  .  Protes- 

tanti  veri  e  i  Cattolici,  496. 
Excellence  .  .  .  de  la  femme  au-dessus  de  I' 

homme,  De  V,  481. 
Excellency  of  Womenkind,  The,  481. 
Execution  of  Justice  in  England,  The,  493. 
Exemples  de  bonnes  et  mauvaises  Femmes, 

240. 

Exemplorum  Dictorum  Factorumque  Memor- 

abilium,  21. 
Exposition  of  the  36th  Psalm,  113. 
Exposition  of  the  XII  Articles  of  our  Fayth, 

A  briefe  and  most  excellent,  361. 

Fables  (Dryden),  151,  158,  230,  233. 

Fabliaux  ou  C antes,  240. 

Fabliaux  ou  Contes  dcs  poStes  frangois  des 

126,  136,  146  e  15«  siicles,  80. 
Fabrica  del  Mondo,  La,  346. 
Fabrizio,  Geronimo,  Ixi,  266,  292,  293,  294, 

295. 

Fabula  Tancredi,  151. 

Facetiae  (Poggio),  5,  6,  40,  80,  87,  88,  100. 

Facezie,  Motti  et  Burle,  5,  49,  80. 

Faerie  Queene,  The,  xlii,  Ivi,  Ixxiii,  11,  137, 

180,  229,  477,  478. 
Faerne,  Gabriele,  471. 
Faggiuola,  Uguccione  della,  422. 
Faignient,  Noe,  129. 
Fair  Q^iarrel,  The,  338. 

Fairfax,  Edward,  xlvii,  140,  141,  157,  158, 
191. 

Fairfax,  Thomas,  third  Lord  Fairfax,  290. 
Fairfax,  William,  191 . 
Faithful  Shepherdess,  The,  204,  205,  215. 
Faithorne,  William,  435,  438,  441. 
Falcon,  The,  1,  95. 


532 


INDEX 


Falcon,  The  (Dramatic  Scenes  and  Other 

Poems),  1,  95. 
Famagosta,  Relatione  di  tutto  il  successo  di, 

396. 

Famagosta,  The  True  Report  of  all  the  Suc- 

cesse  of,  396. 
Famous  Whore,  The,  173,  173. 
Fane,  Sir  Francis,  Jr.,  56,  94,  95. 
Fane,  Mildmay,  2nd  Earl  of  Westmoreland, 

366. 

Fanshawe,  Sir  Henry,  179. 
Fanshawe,  Sir  Richard,  205,  212,  213,  215, 
496. 

Fantesca,  La,  218. 
Farmer,  John,  36,  161. 
Farnese,  Alessandro,  440. 
Farneworth,  Ellis,  430. 
Fasciculus,  485. 

Fate  of  the  Butterfiie,  The,  Ixxiv. 
Father's  Revenge,  The,  151. 
Faucit,   Helena  Saville   (Lady  Martin), 
227. 

Faulconrie,  or  Hawking,  The  Book  of,  330. 
Faustus,  423. 

Faustus,  The  Tragical  History  of  Doctor, 
xlii. 

Fearfull  Fancies  of  the  Florentine  Couper, 

The,  11,  357,  482,  506. 
Fedele,  II,  201,  216,  217. 
Federici,  Cesare,  380. 
Feliciano,  Porfirio,  130. 
Felis,  Stefano,  129. 

Felix  and  Philomena  (Felismena),  The  His- 
tory of,  74. 

Female  Pre-eminence,  or  The  Dignity  and 

Excellency  of  that  Sex,  481. 
Feminei  sexUs  super  virilem;  et  de  sacramento 

matrimonii,  Et  cum  praecellentia,  480. 
Fenn,  John,  263,  270,  273. 
Fenton,  Sir  Geoffrey,  xlvii,  Ixxii,  Ixxx,  16, 

18,  19,  28,  32,  33,  49,  97,  144,  232,  399, 

406,  459. 

Ferdinand  I,  King  of  Bohemia,  311. 
Ferdinand  II,  Grand  Duke  of  Tuscany, 
427. 

Ferdinand  V  "The  Catholic,"  372. 
Ferdinandus,  Gonzalus,  371. 
Fermo,  Oliverotto  da,  422. 
Ferndndez  de  Oviedo  y  Vald^s,  Gonzdles, 
372. 

Fernandez,  Jeronimo,  76. 
Ferrabosco,  Alfonso,  128,  129. 
Ferrar,  Nicholas,  Ix,  287,  288,  339. 
Ferretti,  Giovanni,  129,  154. 
Fiammetta,  Amorous,  50,  51. 
Fiammetta,  L'Amorosa,  xli,  51,  91,  468. 
Ficino,  Marsilio,  347,  348. 
Fidele  and  Fortuna,  301,  217. 
Fidele  and  Fortunio,  The  Two  Italian  Gentle- 
men, 201. 
Fielding,  Henry,  428. 


Fiennes,  William,  Viscount  Saye  and  Sele, 
427. 

Filenio  Sisterno,  14. 

Filli  di  Sciro:  favola  pastorale,  213,  214, 
219. 

Filli  di  Sciro,  or  Phillis  of  Scyros,  313. 

Filocopo,  17,  21,  49. 

Filostrato,  223. 

Filustrato  e  Pamfila,  151. 

Fineo  and  Fiamma,  44. 

Fioravanti,  Leonardo,  Count,  liii,  321,  322. 

Fiore  de  Virtute,  452,  456. 

Fioretti  di  San  Francisco,  Li,  252. 

Firenzuola,  Agnolo  (Angelo  Giovannini,  or 

Nannini),  97,  116,  118,  121,  122. 
First  Booke  of  Ayres,  The  (Jones),  175. 
First  Booke  of  Ayres  or  Little  Short  Songs, 

The  (Morley),  141. 
First  Booke  of  Songes  or  Ayres  (Dowland), 

159. 

Fisher,  G.  P.,  250. 

Fishwife's  Tale  of  Hampton,  The,  232. 
Fiske,  John,  379. 

Fitzalan,  Henry,  Lord  Maltravers,  112. 
Fitzalan,  Henry,  12th  Earl  of  Arundel,  112, 
498. 

Fitzherbert,  Thomas,  287. 
Fitzmaurice-Kelly,  James,  53,  76. 
Fitzwa[l]ter,  Lady  (see  Bridget  Morison 
Radcliffe). 

Fitz-water,  Lady  Elizabeth  (see  Hadding- 
ton). 

Fitzwilliam  Virginal  Book,  The,  142. 

Flaming  Heart,  The,  188. 

Fleay,  F.  G.,  10,  12,  13,  17,  18,  25,  45,  140, 

203,  233. 
Fleetwood,  Edward,  481. 
Fleetwood,  William,  88,  89,  200. 
Fleire,  The,  94. 

Fletcher,  John,  xlvii,  Ivi,  3,  4,  10,  13,  15,  42, 

43,  83,  93,  94,  95,  96,  136,  204,  205.  215, 

227,  338. 
Fletcher,  Phineas,  136. 
Fleury,  Jean,  150. 
Floire  et  Blancheflore,  18. 
Flora's  Vagaries,  94. 
Florentine  History,  The,  237,  404,  405. 
Florentine  Party,  The,  95. 
Florez,  Juan  de,  9. 
Florimonte,  Galeazzo,  463. 
Florio  his  First  Frutes,  349,  351. 
Florio,  John,  Iviii,  163,  186,  262,  349,  350, 

351,  352,  353,  354,  355,  356,  376,  377,  450, 

487,  497. 

Florio,  Michael  Angelo,  Iviii,  486,  487,  499, 
500. 

Florios  Second  Frutes,  350,  351,  450,  497. 
Flos  Sanctorum,  o  Libro  de  las  vidas  de  loa 

Santos,  272. 
Flos  Sanctorum.  The  Lives  of  the  Saints,  371. 
Flower  of  Friendshippe,  The,  30. 


INDEX 


533 


Flower  of  Vertue,  The  (see  The  Boke  of  Wis- 

dome). 
Flugge,  Fritz,  201. 
Folengo,  Teofilo,  Ixxxi,  184. 
Fonte,  P.  Tommaso  della,  271. 
Forbes  Library,  57. 
Ford,  Emmanuel,  xli,  53. 
Ford,  John,  xlii,  42,  189. 
Foreste:  or  Collection  of  Histories,  The,  32, 

23,  63. 

Forrest  of  Fancy,  The,  16,  36,  38,  232, 235. 
Forster,  John,  73. 
Fortescue,  Sir  John,  22. 
Fortescue,  Thomas,  22,  23,  63. 
Forth  Feasting,  184. 

Fortunate,  the  Deceived,  and  the  Unfortunate 

Lovers,  The,  103,  234. 
Fortunate  Lovers,  The,  68,  69. 
Fortunato  de  Vecchi,  270. 
Fortune,  Madam,  474. 
Forty  Vezirs,  The,  15. 
Foscarini,  Michele,  293. 
Fountaine  of  Ancient  Fiction,  The,  76,  79. 
Four  Plays  in  One,  14,  15,  18,  37,  43,  95,  96, 

103,  234. 

Four  Prentices  of  London,  with  the  Conquest 

of  Jerusalem,  The,  140. 
Fracastoro,  Girolamo,  185. 
Franc-arbitre,  Tragedie  du  Roy,  203. 
Francis  d'Assisi,  Saint  (Giovanni  Francesco 

Bernardone),  251,  252,  284. 
Francis  I,  68,  70,  337,  376,  380. 
Francis  II,  430. 

Franklin's  Tale,  The,  15,  18,  153. 
Fraunce,  Abraham,  Ixxiii,  94,  125,  127,  128, 

136,  137,  201,  216,  217. 
Frederick  V,  Elector  Palatine,  219. 
Free  Schoole  of  Warre,  The,  280. 
Free  Will,  The  Tragedie  of,  204. 
Freeman,  Sir  Ralph,  73,  83,  210. 
Freewyl,  A  certayne  Tragedie  wrytten  first  in 

Italian  by  F.  N.  B.  entituled,  203,  203. 
Fregoso,  or  Fulgoso,  or  Campofregoso,  Bat- 

tista.  Doge  of  Genoa,  21. 
Fregoso,  Federigo,  449. 
Fregoso,  Ottaviano,  Doge  of  Genoa,  448, 

450. 

French  Ignorance  of  English  Literature  in 
Tudor  Times,  350. 

Friendship,  Of,  502. 

Frisland,  Discoverie  of  the  Isles  of,  378. 

Froude,  James  Anthony,  248,  346,  486. 

Fruits  of  Jealousie,  The,  146,  181. 

Fuga  Saeculi;  or.  The  Holy  Hatred  of  the 
World,  286. 

Full  and  satisfactorie  answer  to  the  late  unad- 
vised Bull,  A,  263. 

Fuller,  Thomas,  56,  125,  210,  217,  249,  470. 

Fuller  Worthies'  Library,  The,  188. 

FuUwood,  William,  310,  347,  348. 

Furi6  Ceriol,  Federigo,  395. 


Furness,  Horace  Howard,  336,  351,  451. 
Furtivis  literarum  notis  vulgo  de  Ziferis,  De, 
511. 

G.,  A.,  104, 
G.,  H.,  17. 
G.,  H.,  77. 
G.,  H.,  319. 
G.,  I.  Gentleman,  331. 
G.,  J.,  273. 
G.,  J.  C.  D.,  255. 
Gabrieli,  Giovanni,  163. 
Gaffarel,  Jacques,  434. 
Gainsford,  Thomas,  464. 
Galateo,  Ixxxi,  297,  446,  461,  462,  463,  465, 
507. 

Galateo  Espagnol,  El,  462. 

Galateo  Espagnol,  or  The  Spanish  Gallant,  462, 

Galateo,  sen  de  morum  honestate  et  elegantia 

liber,  Jo.  Casae,  461,  607. 
Galateo  of  Maister  John  Della  Casa,  459, 460, 

507. 

Galateo  of  Manners  and  Behaviours  (Reid), 
460. 

Galateo  of  Manners  and  Behaviours  (Spin- 
gar  n),  461. 

Galateo  of  Manners;  or  Instructions  toaYoung 
Gentleman,  461. 

Galateo,  or  A  Treatise  on  Politeness  and  Deli- 
cacy of  Manners,  461. 

Galateus,  or  A  Treatise  of  Manners,  J.  Casa 
his,  461. 

Galatheo,   Trattato  .  .  .  nel  quale  ...  si  ro- 

gione  de'  modi  .  .  .  cognominato,  461. 
Gale,  Thomas,  301. 
Galen,  301,  452. 
Galfrido  and  Bernardo,  233. 
GaUleo  GaUlei,  U,  Ixxxi,  72,  292,  293. 
Galli,  Antonio,  500. 
Game  at  Chess,  A,  lix,  280,  502. 
Garden  of  Pleasure,  The,  27,  351. 
Garden  of  Unthriftinesse,  The,  31,  33. 
Gardens,  Of,  Ixiv. 
Gardiner,  Robert  Barlow,  Ixxx. 
Gardiner,  Stephen,  248. 
Gardner,  Edmund  G.,  190. 
Gargantua,  330. 

Garnett,  Richard,  153,  247,  439,  451. 

Garret,  John,  102. 

Garrick  Collection,  45. 

Garrick,  David,  206,  207. 

Garzoni,  Tommaso,  474. 

Gascoigne,  George,  xlvi,  xlvii,  Ixx,  24,  25, 

119,  180,  197,  198,  199,  225,  258,  260,  320, 

321,  397. 

Gascoigne,  The  Complete  Poems  of,  25. 
Gascoigne,  The  Life  and  Writings  of  George 

Gascoigne,  25. 
Gassendi,  Pietro,  Ixi,  294. 
Gastoldi,  Giovanni  Giacomo,  142,  143,  144, 

163. 


534 


INDEX 


Gatti,  Alessandro,  502. 
Gaudeif  un  sien  Meester,  De,  237. 
Gaulfrido  and  Barnardo,  The  Pityfull  His- 
toric of  two  loving  Italians,  333. 
Gelli,  Giovanni  Battista,  10,  11,  257. 
Gello,  I  Dialogi  del,  257. 
Gemini,  E.,  461. 

Gentilis,  Alberico,  lix,  508,  509,  510,  511, 
512,  514. 

Gentilis  J.  C.  Prof.  Reg.  Opera  omnia  in 
plures  tomos  distributa,  Alberici,  511. 

Gentilis,  Robert,  276,  420,  430,  432,  508, 
512. 

Gentilis,  Scipio,  508,  510. 

Gentillet,  Innocent,  423,  424. 

Georgics  (Vergil),  350. 

Germaine  Empire,  The  Estate  of  the,  408. 

Germanicus  and  Agrippina,  30. 

Gerusalemme  Liberata,  La,  140,  157, 187, 191, 

350,  509,  510. 
Gesner,  Conrad,  302. 
Gesta  Bomanorum,  59,  455. 
Ghismonda,  La,  151. 

Giardino  di  Ricreatione,  II,  350,  351,  497. 

Gibbon,  Edward,  71,  187,  293,  394. 

Gibbons,  Ellis,  161. 

Gibbs,  H.  H.,  8. 

Gifford,  Humphrey,  17,  39.  i 

Gigli,  Giovanni,  xxxix. 

Gigli,  Silvestro,  xxxix. 

Gil  Bias,  349. 

Gilbert,  Sir  Humphrey,  381. 
Gilbert,  WilUam,  292,  335. 
Giletta  of  Narbonne,  13. 
Giocasta,  La,  198,  199. 
Giovanelli,  Ruggiero,  154,  163. 
Giovanni,  Ser,  xli,  xlix,  12,  14,  43,  55,  57, 
59,  86. 

Giovio,  Paolo,  li,  Ixxxi,  113,  186,  371,  468. 
Giovio  sopra  .  .  .  Impresse,  Ragionamento  di 

Paolo,  li,  468. 
Giraffi,  Alessandro,  432,  433,  434. 
Giraldi,  Giovanni  Battista  (Cintio),  5,  38,44, 

45,  48,  49,  80, 114,  200,  229,  476,  477,  478. 
Gisippus,  or  The  Forgotten  Friend,  96,  227. 
Gismond,  La  piteuse  et  lamentable  historic  de, 

150. 

Gismonda,  La,  151. 
Gismonda  and  Guiscardo,  151. 
Giulia  da  Gazuolo,  19. 
Giulietta,  La,  225. 
Giunta,  D.  di,  394. 
Giussani,  Giovanni  Pietro,  271. 
Glemhan,  Charles,  258. 
Glenmham,  Lady  Anne,  144. 
Glenmham,  Sir  Henry,  145. 
Gloria  d'Amore,  143. 

Glory  of  Women;  or  A  Looking  Glass  for 

Ladies,  The,  481. 
Glory  of  Women,  The,  481. 
Go,  lovely  Rose,  Ixxiii,  431. 


Godfrey  of  Bulloigne,  II,  140. 

Godfrey  of  Bulloigne,  or  The  Recoverie  of  Hier- 

usalem  (Carew),  140,  158. 
Godfrey  of  Bulloigne,  or  The  Recoverie  of 

Jerusalem  (Fairfax),  141,  167,  158. 
Godolphin,  Sir  Francis,  332. 
Golden  Epistles,  459. 
Golden  Fleece,  The,  416. 
Golden  Garland  of  Princely  Delights,  The, 

176. 

Golden  Supper,  The,  96. 
Golding,  Arthur,  297,  395. 
Goldoni,  Carlo,  241. 
Goldsmid,  Edmund,  378,  380. 
Goldsmith,  Oliver,  xlvii,  227. 
G6mez  de  Quevedo  y  Villegas,  Francisco, 
439. 

G6ngora  (see  Argote  y  G6ngora) . 
Gonzaga,  Elizabetta,  Duchess  of  Urbino, 
448. 

Gonzaga,  Guglielmo,  407. 
Gonzaga,  Luigi  di  (Saint  Aloysius),  284, 
285. 

Gonzaga,  The  Life  of  B.  Aloysius,  275,  384. 
Gonzaga,  Selva  nella  morte  del  Signor  Aluigi 
da,  478. 

Gonzaga,  Vita  del  beato  Luigi,  284. 
Gonzagae,  De  vita  beati  Aloysii,  284. 
Gonzales  and  his  virtuous  wife  Agatha,  44,  45. 
Good  Newes  to  Christendome,  379. 
Googe,  Barnabe,  111,  112. 
Gorboduc,  1,  253,  506. 

Gordianus  I,  Marcus  Antoninus,  surnamed 

Africanus,  393. 
Gordianus  II,  Marcus  Antonius,  393. 
Gorgious  Gallery  of  Gallant  Inventions,  A, 

xlviii,  144,  226. 
Gosse,  Edmund,  62,  168. 
Gosson,  Stephen,  xlii,  260. 
Goubourne,  John,  72,  232. 
Gouffier,  Guillaume,  Seigneiu-  de  Bonnivet, 

67. 

Gough,  Alexander,  20,  97. 
Goulart,  Simon,  16,  83,  84. 
Governour,  The  Boke  named  The,  226. 
Gower,  John,  xliii,  xlvi,  428. 
Grabau,  Carl,  215. 

Grace  Abounding  to  the  Chief  of  Sinners,  255. 

Gracian,  Lucas  Dantisco,  462. 

Grafton,  Richard,  Ixxx. 

Graia,  Historia  de  la  Vita  e  de  la  Morte  de 

I'illu^trissima  S.  Giovanna,  487,  499,  500. 
Grammatica  di  M.  S.  Lentulo,  La,  348. 
Grande  Encyclopedic,  La,  297. 
Grandeur  et  de  V  Excellence  des  Femmes,  De  la, 

480. 

Grant  Duflf,  Sir  Mountstuart,  231. 
Granthan,  Henry,  17,  348. 
Grassi  his  true  Arte  of  Defence,  Giacomo  Di, 
331. 

Grataroli,  Guglielmo,  310,  311.  318. 


INDEX 


535 


Graves,  Richard,  461. 
Gray,  Thomas,  Iv. 

Grazzini,  Antonio  Francesco  (II  Lasca),  6, 
215. 

Green,  Henry,  471. 

Greene,  Robert,  xli,  xlii,  xliii,  xlvii,  xlix,  16, 
54,  55,  57,  58,  124,  127,  135,  141,  166,  228, 
363. 

Greene,  The  Life  and  Complete  Works  in 

Prose  and  Verse  of  Robert,  363. 
Greenes  farewell  to  Folly,  Ixx. 
Gregory  of  Nazianzus,  or  Gregory  Nazian- 

zen,  Saint,  289. 
Gregory  XIII  (Ugo  Buoncampagni),  262. 
Gregory  XV  (Alessandro  Lodovisio),  271, 

272,  285,  415. 
Grenville  Library,  384. 
Grenville,  Sir  Richard,  382. 
Grenville,   Richard    Plantagenet  Temple 

Nugent  Brydges  Chandos,  3d  Duke  of 

Buckingham  and  Chandos,  Ixxv. 
Gresham,  Sir  Charles  E.,  145. 
Gresham,  Sir  Thomas,  234,  349. 
GreviUe,  Sir  Fulke,  Ix,  Ixiii,  75,  490,  509. 
Grey,  Arthur,  14th  Lord  Grey  de  Wilton, 

33,  399,  476. 
Grey,  Elizabeth  Talbot,  Countess  of  Kent, 

356,  500. 

Grey,  Lady  Jane,  Iviii,  487,  499,  500. 
Grey,  Lady  Jane  Sibylla,  33. 
Gribaldi,  Matteo,  called  "  Mopha,"  253, 
254 

Griffin,  Gerald,  96,  227. 
Griggs,  W.,  329. 

Grim  the  Collier  of  Croydon,  or  The  Devil  and 

his  Dame,  45,  106. 
Grimeston,  Edward,  83,  414. 
Grimm,  Ludwig  Jacob,  237. 
Grindal,  Edmund,  lix,  256,  261. 
Gripus  and  Hegio,  43. 
Griselda  (Edwin  Arnold),  96,  241, 
Griselda  (Cope),  241. 
Griselda  (M.  E.  Braddon),  96,  241. 
Griselda,  La,  241. 
Griselda,  Marriage  of  (Cope),  241. 
Griselidis,  De  patientia,  96,  241. 
Griselidis,  Le  Mystbre  de,  240. 
Grisellini,  Francesco,  294. 
Grisone,  Federico,  Ixiv,  305,  322,  323. 
Grosart,  Alexander  B.,  20,  39,  58,  74,  79, 

137,  140,  144,  145,  147,  148,  152,  164,  165, 

185,  186,  188,  206,  237,  363,  475. 
Grotius  (de  Groot),  Hugo,  289. 
Groto,  Delle  Rime  di  Luigi,  167. 
Groto,  or  Grotto,  Luigi  (II  Cieco  d'Adria), 

167,  210,  218,  225. 
Grove,  Sir  George,  131,  160,  162. 
Gruget,  Claude,  22,  23,  63,  68,  69,  70. 
Guadagni,  Carlo  Francesco,  354. 
Gualdo-Priorato,  Galeazzo,  442, 
Guardian,  The,  95,  97,  458. 


Guarini,  Giovanni  Battista,  60,  130,  152, 
156,  167,  168,  174,  186,  189,  191,  204,  205, 
212,  213,  354,  496. 

Guasco,  Annibale,  151. 

Guazzo,  Stefano,  351,  354,  450,  469. 

Guendeville,  Pier  de,  480. 

Guerin,  Anthony,  72. 

Guerra  di  Fiandra,  Delia,  437, 

Guevara,  Antonio  de,  xlvii,  459. 

Guevara,  The  Familiar  Epistles  of  Sir  An- 
thony of,  459. 

Guicciardin,  Two  Discourses  of  Master  Fran- 
ces,  401,  406. 

Guicciardini,  Agnolo,  366,  399. 

Guicciardini,  Francesco,  Ixxx,  293,  362,  365, 
366,  367,  399,  400,  406,  413,  414,  439. 

Guicciardini,  Lodovico,  307,  404. 

Guilpin,  Edward,  xliv,  447. 

Guiney,  L.  I.,  191. 

Guise,  Henry  II  de  Lorraine,  5th  Duke  de, 
432. 

Guistard  and  Sismond,  The  statly  tragedy  of, 
150. 

Gurney,  Richard,  363. 

Guterry,  Seigneur  de,  459. 

Guystarde  and   Sygysmonde,  The  amorous 

History  of,  150. 
Guzmdn  de  Alfarache,  349. 
Gwydonius  the  Carde  of  Fancie,  16. 

H.,  R.,  171. 

Haddington,  Viscount  (see  Sir  John  Ram- 
say). 
Hadriana,  225. 

Hakluyt,  Richard,  xlvi,  373,  374,  375,  377, 
378,  380,  381,  382,  383,  386,  396. 

Hakluyt  Society,  341,  347,  378,  389. 

Hakluytus  Posthumua  (see  Purchas  His  Pil- 
grimes) . 

Hales,  Lady,  111. 

Hall,  Edward,  Ixxx. 

Hall,  Fitzedward,  432. 

Hall,  or  HaUe,  John,  315,  316,  318. 

Hall,  Joseph,  xliv,  150,  304,  447. 

Hallam,  Henry,  210,  382. 

Hallelujah  Chorus,  192. 

Halliwell,  J.  O.,  55,  56,  65,  97,  105,  207. 

Hamblet,  The  Hyctorie,  89,  90. 

Hamilton,  John,  Ixiii. 

Hamlet,  Prince  of  Denmark,  xUi,  xlix,  Iv,  52, 
447. 

Hamlet,  Prince  of  Denmark,  The  Tragical 

History  of,  90. 
Hampton  Court,  xxxix,  Ixvi. 
Handefull  of  Pleasant  Delites,  A,  xlviii,  226, 

228. 

Handel,  George  Frederick,  192. 
Hannibal,  15,  367,  401,  402. 
Hannibal  against  the  Romans,  The  Warres 
of,  367. 

Harefield  Manor,  Ixxiv,  Ixxv. 


536 


INDEX 


Harington,  Francis,  135. 
Harington,  John,  1st  Lord  Harington  of  Ex- 
ton,  350. 

Harington,  Sir  John,  Ixxvi,  135,  136,  169, 

229,  409,  506. 
Hart,  Sir  John,  363. 
Hartlib,  Samuel  H.,  503. 
Hartwell,  Abraham,  the  younger,  Ixi,  383, 

385,  406,  407. 
Harvey,  Gabriel,  Ix,  25,  124,  321,  509. 
Harvey,  Thomas,  114. 
Harvey,  William,  Ixi,  294,  295. 
Hastings,  Lady  Elizabeth,  Ixxviii. 
Hastings,  Henry,  3d  Earl  of  Huntington, 

445. 

Hatton,  Sir  Christopher,  28,  44,  46,  405. 

Hatton,  Sir  WilUam,  51. 

Haughton,  William,  45,  96,  106,  241. 

Have  with  you  to  Saffron  Walden,  124,  128. 

Hawes,  William,  160,  162. 

Hawkesworth,  Walter,  211,  218. 

Hawkins,  Henry,  286,  287. 

Hawkins,  John,  287. 

Hawkins,  John  Sidney,  208. 

Hawkins,  Sir  John  (navigator),  382. 

Hawkins,  Sir  John  (musician),  161,  230, 231. 

Hawkins,  Sir  Thomas,  99,  287. 

Haydocke,  Richard,  334,  335. 

Haym,  Niccolo  Francesco,  480. 

Hayward,  James,  103,  104. 

Hazlitt,  W.  C,  4,  13,  25,  26,  30,  45,  48,  80, 
81,  83,  84,  86,  90,  93,  100,  102,  106,  125, 
139,  146,  197,  200,  206,  224,  225,  420,  464. 

Health  and  Long  Life,  340. 

Heard,  Isaac,  497. 

Heardson,  John,  201. 

Hecatommithi,  overo  Cento  Novelle  di  M.  Gio- 
van  Battista  Giraldi  {Cinthio),  Gli,  5,  44, 
45,  48,  49,  80,  200,  229,  477,  478. 

Hecatompathia,  or  Passionate  Centurie  of 
Love,  The,  116,  124. 

Hecatomphila,  ne  la  quale  se  insegna  Vingeni- 
osa  arte  d'amore,  473. 

Hecatonphila,  The  Arte  of  Love,  473. 

Hedley,  Thomas,  51. 

Heigham,  John,  280. 

Heimund,  Ralph,  111. 

Hellowes,  Edward,  xlvii,  459. 

Henrietta  Maria,  Queen,  211,  426,  492. 

Henry  II,  of  England,  223. 

Henry  III,  of  England,  26. 

Henry  III,  of  France,  430. 

Henry  IV,  of  England,  425,  426,  428. 

Henry  IV.  Part  I,  King,  198,  199. 

Henry  IV.  Part  II,  King,  Ivi. 

Henry  IV,  of  France,  266,  430. 

Henry  V,  of  England,  425,  426. 

Henry  the  Fifth,  King,  351. 

Henry  VI,  of  England,  425,  426. 

Henry  VI.  Part  I,  King,  423. 

Henry  VI.  Part  III,  King,  423. 


Henry  VII,  xxxviii,  xxxix,  xl,  Ixvi,  150,  425, 

426,  448. 
Henry  VII,  Chapel  of,  Ixvi. 
Henry  VIII,  xxxvii,  xxxix,  xl,  Ixi,  Ixvi,  Ixviii, 

Ixxix,  100,  113,  231,  245,  247,  324,  326, 

462,  485,  486. 
Henry  (Stuart),  Prince  of  Wales,  177,  179, 

355. 

Henslowe's  Diary,  13,  14,  42,  61,  68,  86,  106, 
140,  224,  233,  422, 

Heptameron  des  Nouvelles,  L\  14,  21,  47,  48, 
66,  67,  68,  69,  70,  406. 

Heptameron  of  Civill  Discourses,  An,  14,  16, 
32,  46,  49,  71,  200,  226. 

Heptameron:  or  The  History  of  the  Fortunate 
Lovers,  68,  70. 

Heptameron,  or  Tales  and  Novels  of  Margue- 
rite, Queen  of  Navarre,  69. 

Heraclius,  187. 

Herberay,  Nicolas  de,  Seigneiu-  des  Essarts, 

29,  238,  239. 
Herbert,  Anne  Clifford  Sackville,  Countess 

of  Pembroke  and  Montgomery,  Ixxviii, 

Ixxix. 

Herbert,  Anne  Talbot,  Countess  of  Pem- 
broke, 260. 

Herbert,  Edward,  1st  Lord  Herbert  of  Cher- 
bury,  Ixxv,  485. 

Herbert,  George,  174,  287,  288,  339. 

Herbert,  Henry,  2d  Earl  of  Pembroke,  172. 

Herbert,  Magdalen  Newport,  Ixxvii. 

Herbert,  Mary  Sidney,  Countess  of  Pem- 
broke, Ixxii,  Ixxiii,  Ixxiv,  127,  136,  137, 
139,  166. 

Herbert  of  Cardiff,  Lord,  11. 

Herbert,  Sir  Percy,  455. 

Herbert,  Philip,  Earl  of  Montgomery  and 
4th  Earl  of  Pembroke,  479. 

Herbert,  William,  258,  413. 

Herbert,  William,  3d  Earl  of  Pembroke, 
Ixv,  Ixxiii,  Ixxiv,  84,  479. 

Herford,  C.  H.,  115. 

Hermaphroditus  and  Salmacis,  The  Pleasant 

Fable  of,  225. 
Hermit,  The,  455. 
Hermit,  The  (picture),  455. 
Hermogenes,  365. 
Heme,  Lady  Anne,  206. 
Heme,  Sir  Edward,  206. 
Hero  and  Leander,  xlii,  180. 
Herodian,  393. 

Herodian,  The  History  of,  393. 
Herodiani  Historiae,  393. 
Herodotus,  12,  14,  86. 
Herodotus,  Apologie  for,  84,  85. 
Heroic  Enthusiasts,  The,  494. 
Heroici  Furori,  De  GV,  494. 
Heron,  Cecilia  More,  Ixxii. 
Hester,  John,  liv,  321,  322. 
Heywood,  Thomas,  1,  17,  19,  42,  45,  86,  87, 
94,  140,  211,  212. 


INDEX 


537 


Hickock,  Thomas,  381. 

Higgons,  Thomas,  192. 

Hill.  G.  Birkbeck,  448. 

HiU,  Richard,  119. 

Hill,  Thomas,  Londoner,  321,  324. 

Hilton,  John,  161,  162,  191. 

Hipolito  and  Isabella,  The  True  History  of 

the  tragicke  loves  of,  98. 
Hippolytus,  482. 

Histoire  de  la  dame  de  Langalier,  L\  71. 
Histoire  de  Palmerin  d'Olive,  L',  53. 
Histoire  des  Amans  Fortunez,  68. 
Histoire  des  Guerres  Civiles  de  France,  431. 
Histoire  du  Concile  de  Trente,  281. 
Histoire  Prosperitez  Malheur euses,  98. 
Histoires  Admirables  et  Memorables  de  nostre 

temps,  16,  83. 
Histoires  Tragiques  (Belief orest) ,  20,  62,  65, 

90,  136,  218,  224,  229,  406. 
Historia  de  Bello  Trojano,  223. 
Historia  de  Cericel  y  Mirabella,  La,  9. 
Historia  degli  Riti  Hebraici,  434. 
Historia  del  Concilio  Tridentino,  Iviii,  lix, 

276,  277,  514. 

Historia  delta  Guerra  fra  Turchi  et  Persiani, 
Ixi,  407. 

Historia  delta  Rivoluzioni  di  Francia,  442. 
Historia  della  Sacra  Inquisitione,  420. 
Historia  delle  Guerre  Civili  de  Francia,  430. 
Historia  delle  Guerre  Civili  d'  Inghilterra,  L', 
426. 

Historia  di  P.  G.  Capriata,  441. 

Historia  diece  dialoghi,  Della,  397. 

Historia  d'  Italia  di  F.  G.,  L',  366,  399,  400. 

Historia  general  y  natural  de  Indias,  372. 

Historia,  Naturalis,  123. 

Historia  Vinetiana,  440. 

Historiae,  Celii  Augustini  Curionis  Sarra- 

cenicae,  398. 
Historiae  Concilii  Tridentini,  Petri  Suavis 

Polani,  513. 
Historicall  Relations  of  the  United  Provinces 

and  of  Flanders,  435. 
Historie  of  all  the  Roman  Emperors,  The,  414. 
Historie  of  France,  Continuation  of  the,  404. 
Historie  of  Guicciardin,  The,  399,  406. 
Historie  of  Italy,  The,  347. 
Historie  of  Philip  de  Commines,  The,  404. 
Historie  of  the  Civil  Warres  of  France,  The, 

430. 

Historie  of  the  Councel  of  Trent,  The,  375, 

277,  278,  293. 

Historie  of  the  late  Revolutions  in  Naples,  An 
Exact,  433,  434. 

Historie  of  the  uniting  of  the  Kingdom  of  Por- 
tugall  to  the  Crown  of  Castill,  The,  413. 

Historie  .  .  .  of  the  warres  betwixte  the  Gre- 
cians and  the  Troyans,  etc..  The  Auncieat, 
333. 

Historie  of  the  West  Indies,  The  (see,  De 
Nouo  Orbe). 


Histories,  The  true  order  and  methode  of  wryt- 

ing  and  reading,  397. 
History  of  England  from  the  Fall  of  Wolsey 

to  the  Defeat   of  the   Spanish  Armada 

(Froude),  248,  346. 
History  of  English  Dramatic  Literature,  A, 

207,  406. 

History  of  English  Poetry  (Courthope) ,  423. 
History  of  English  Poetry  (Warton),  3,  10, 

23,  26,  30,  41,  65,  77,  84,  111. 
History  of  European  Morals  from  Augitstus 

to  Charlemagne,  30. 
History  of  Fiction,  6. 
History  of  France,  The,  443. 
History  of  Greek  Classical  Literature,  A,  198. 
History  of  Italian  Literature,  A,  153. 
History  of  Life  and  Death,  340. 
History  of  Music,  231. 

History  of  our  B.  Lady  of  Loreto,  The,  369. 
History  of  Spanish  Literature,  349. 
History  of  the  Christian  Church,  250. 
History  of  the  Civil  Wars  of  France,  The,  430. 
History  of  the  Civili  Warres  of  England,  An, 
435. 

History  of  the  Discovery  of  the  Circulation  of 

the  Blood,  A,  295. 
History  of  the  House  and  Race  of  Douglas  and 

Angus,  The,  188. 
History  of  the  Inquisition,  The,  276,  293,  430, 

508,  510. 
History  of  the  Popes,  264,  284. 
History  of  the  Quarrels  of  Pope  Paul  V  with 

the  State  of  Venice,  The,  264,  381,  293, 

514. 

History  of  the  Rites,  Customes  and  Manner  of 

Life  of  the  present  Jews,  The,  434. 
History  of  the  Science  and  Practice  of  Music, 

A  General,  231. 
History  of  the  Stage,  12,  17. 
History  of  the  University  of  Cambridge,  217. 
History  of  the  Warres  betweene  the  Turks  and 

the  Persians,  The,  406,  408. 
History  of  the  Warrs  of  Flanders,  The  Com- 

pleat,  437. 
History  of  the  Wars  of  Italy,  441. 
History  of  the  World,  15. 
History  of  Trauayle  in  the  West  and  East  In- 

dies.  The,  373,  373,  374. 
History  of  Venice,  The,  440. 
Historye  of  the  Saracens,  A  Notable,  62,  397. 
Histriomastix,  or  The  Players  Scourge  or  Ac' 

tors  Tragedy,  lii. 
Hitchcock,  Robert,  362. 
Hobson,  William,  86,  87. 
Hoby,  A  Booke  of  the  Trauaile  and  lief  of  me, 

Thomas,  204. 
Hoby,  Sir  Thomas,  xlvii,  Ixxii,  21,  204,  249, 

445,  448. 

Hoefer,  Jean  Chretien  Ferdinand,  488. 
Hogarth,  William,  151. 
Holbein,  Hans,  Ixviii,  487. 


538 


INDEX 


Hole,  W.,  353. 

Holinshed,  or  Hollingshead,  Raphael,  Ixxx. 
Holland,  Philemon,  xlvi,  404. 
Holland,  T.  E.,  511. 
HoUoway,  Anthony,  333. 
Holmes,  John,  161. 

Holyband,  Claudius  (Claude  Desainliens), 

liii,  28,  29,  239,  349,  350,  352. 
Holyday,  or  Holiday,  Barten,  192. 
Homer,  xlii,  77,  223,  350,  365. 
Honoria  and  Mammon,  95,  231. 
Honour  of  Chivalrie,  The  {Don  Bellianis),  75. 
Honour  of  the  Garter,  The,  139. 
Honours  Academie,  148,  305,  206. 
Honywood,  Thomas,  111. 
Hopkins,  E.  J.,  148. 
Hopkins,  John,  253. 

Horace  (Quintus  Horatius  Flaccus),  122. 
Hospidale  de  Pazzi  Incurabili,  L\  474. 
Hospitall  of  Incurable  Fooles,  The,  474. 
Householders  Philosophie,  The,  li,  327. 
How  a  Man  may  chuse  a  Good  Wife  from  a 
Bad,  45. 

Howard,  Charles,  Earl  of  Nottingham,  160, 

398,  403,  499. 
Howard,  Frederick,  5th  Earl  of  Carlisle,  151. 
Howard,  Sir  George,  12. 
Howard,  Henry,  Earl  of  Surrey,  504. 
Howard,  Philip,  1st  Earl  of  Arundel,  49. 
Howard,  Thomas,   2d  Earl   of  Arundel, 

Ixv. 

Howard,  Thomas  III,  4th  Duke  of  Norfolk, 
313,  506. 

Howell,  James,  xlvii,  Ixxiii,  Ixxxi,  103,  289, 

351,  357,  431,  432,  433,  438,  455. 
Howell,  The  Familiar  Letters  of  James,  351. 
Howson,  John,  512. 

Huarte  Navarro,  Juan  de  Dios,  331,  332. 

Hudibras,  241. 

Hudson,  Henry,  380. 

Hues,  Robert,  341,  512. 

Hugh,  or  Hugo,  of  Lincoln,  or  of  Avalon, 

Saint,  287. 
Hughes,  John,  438. 
Hughes,  Thomas,  183. 
Huguenot  Society  of  London,  274, 
Hume,  Anna,  187,  188. 
Hume,  David,  278. 
Hume  of  Godscroft,  David,  188. 
Hundred  and  Ten  Considerations  of  Signior 

John  Valdesso,  The,  387,  288. 
Hundred  Merry  Tales,  xl,  3,  4. 
Hundreth  Sundrie  Flour es,  A,  84,  197,  198. 
Himnis,  William,  liv. 
Hunt,  Holman,  236. 
Hunt.  Leigh,  153. 
Hunt,  Thomas,  161. 
Hunterian  Club,  60,  65. 
Hurtado  de  Mendoza,  Diego,  349. 
Huth,  Henry,  4,  76. 
Huth  Library  Catalogue,  17,  150,  474. 


Hutton,  Edward,  93. 

Hygiasticon:  or,  the  right  course  of  preserving 

Life  and  Health,  Ixii,  339. 
Hygiasticon,  seu  vera  ratio  valetudinis  bonae  et 

vitae  ,  .  .  conservandae,  339. 
Hymenaeus,  95,  317. 
Hymn  to  Intellectual  Beauty,  494. 
Hymne  in  Honour  of  Beautie,  450. 
Hymnus  in  Cythiam,  180. 
Hypnerotomachia.  The  Strife  of  Love  in  a 

Dreame,  338,  329,  330. 
Hystorie  of  the  most  noble  Knyght  Plasidas, 

The,  8. 

I.,  G.,  91. 
I.,  W.,  406. 

"I  will  exalt  thee"  (anthem),  231. 

"I  will  sing  unto  the  Lord"  (Israel),  192. 

Icilius  and  Virginia,  30. 

Ideas  Mirrour:  Amours  in  Quatorzains,  xliv. 

Idea:  The  Shepheards  Garland,  Ixxiii,  Ixxvi. 

Iden,  Henry,  10,  257. 

//  it  be  not  good,  the  Devil  is  in  it,  45. 

"If  music  and  sweet  poetry  agree,"  160. 

If  You  Know  not  me.  You  Know  Nobody:  or 

The  Troubles  of  Queen  Elizabeth,  86. 
Ignoramus,  308,  209. 
Iliad,  Ixxvii,  350, 

Ilicino,  or  Glicino,  or  Lapini,  Bernardo,  16, 
Illustrated  Catalogue  of  a  Loan  Collection  of 

Portraits  ,  ,  .  prior  to  the  year  1625,  Ixix. 
Illustrations  of  British  History,  Biography, 

and  Manners,  etc.,  Ixvii. 
Illustrations  of  Old  English  Literature,  60, 
Imagini  degli  Dei  de  gli  Antichi,  79. 
Imperial  Historic,  or  The  Lives  of  the  Emper- 

ours  from  Julius  Caesar,  The,  414. 
Imperiale,  73,  83,  210. 
Imperiali,  Giovanni  Vincenzo,  434,  435. 
Imprese  Militari  et  Amorose,  Dialogo  delV, 

468. 

Incertitudine  et  Vanitate  Scientiarum,  De, 
480. 

Index  Expurgatorius,  69,  291,  297, 

Index-Catalogue  of  the  Library  of  the  Surgeon- 
General's  Office,  301, 

Indian  Observations  gathered  out  of  the  Letters 
of  N.  Pimenta,  386. 

Indice  e  Catalogi,  480, 

Inferno,  L',  liv,  Ivi,  183. 

Infinito  Universo  e  Mondi,  Dell',  490. 

Ingannati,  GV,  215,  216,  218. 

Injured  Princess,  or  The  Fatal  Wager,  The, 
94, 

Injustitia  Bellica  Romanorum  Actio,  De,  511* 
Innocent  III  (Lotario  Conti),  260, 
Innocentiam,  In,  265. 
Insatiate  Countess,  The,  16,  19,  32,  42,  49. 
Inscriptions,  167. 

Interdetto  di  Venezia,  Trattato  dell',  263,  514. 
Interdicti  Veneti  Historia,  278,  284,  514. 


INDEX 


539 


Interpretatio  et  Paraphrasis  in  Apocalypsin, 
402. 

Introduction  ou  Traitl  de  la  Conformity  des 
Merveilles  Anciennes  avec  les  Modernes, 
L\  84. 

lovius.  The  Worthy  Tract  of  Paulua,  186, 
468. 

Ireland,  S.  W.  H.,  445. 

Irving,  David,  182, 

Irving,  Henry,  31. 

Irving,  Washington,  396. 

Isabella  I  "  The  Catholic",  372. 

Isabella  (Lorenzo  and  Isabella),  236. 

Isabella  and  the  Pot  of  Basil,  236. 

Isabella,  or  The  Pot  of  Basil,  xlix,  236. 

Isham,  Sir  Charles,  127. 

Ismail  I,  Shah  (Sophy),  of  Persia,  408. 

Istoria  particolare  delle  cose   passate  tra'  I 

Sommo  Pontifice  Paole  V,  etc.,  278,  281, 

514. 

Istorie  Florentine,  14,  43,  71,  405. 

"It  was  a  lover  and  his  lass,"  141. 

Italian  church  in  London,  Ivi,  Ivii,  Iviii. 

Italian  Convert,  The,  267. 

Italian  Grammer,  An,  17,  348. 

Italian  Prophecier,  The,  338. 

Italian  Proverbs,  Select,  366. 

Italian  Reviv'd,  or  Introduction  to  the  Italian 

Tongue,  The,  356. 
Italian  Schoole-maister,  The,  liii,  28,  353. 
Italian  script,  xl. 

Italian  Taylor  and  his  Boy,  The,  337. 
Italian  Tongue,  New  and  Easie  Directions  for 

Attaining  the  Thuscan,  356. 
Italian  Tutor,  The,  356. 
Italicae  Grammatices  Institutio,  348. 
Itinerary  containing  his  Ten  Years  Travels, 

An  (Moryson),  Ixiv,  410. 

Jack  of  Dover,  81,  88. 

Jacobean  Poets,  The,  168. 

Jacobs,  Joseph,  12,  16,  30,  228,  351,  456. 

James  I,  lix,  Ixxvi,  44,  157,  208,  209,  211, 

264,  276,  277,  280,  320,  335,  500,  513. 
JefTere,  Johannes,  215. 

Jenghiz  Khan,  or  Genghis  Khan,  or  Jinghis 

Khan,  387. 
Jerlito,  Gir alamo,  Ixii. 
Jerome,  Saint,  24. 

J eronimi,  A  discourse  of  the  adventures  passed 
by  Master  Ferdinando,  24,  25,  32. 

J  eronimi  and  Leonora  de  Velasco,  The  pleas- 
ant fable  of  Ferdinando,  25,  32. 

Jerusalem,  140. 

Jerusalem,  The  Destruction  of,  141. 

Jesus,  86,  452. 

Jesus  Psalter,  280. 

Jew  of  Malta,  The,  423. 

Jewel,  John,  lix,  250,  256. 

Job,  241. 

Jobson,  Sir  Francis,  233. 


Jocasta,  24,  197,  198,  199. 

Johannes  de  Mediolano,  169. 

John  of  Capua,  457,  458. 

Johnson,  Edward,  161. 

Johnson,  Richard,  86,  87. 

Johnson,  Robert,  384,  385. 

Johnson,  Samuel,  114,  158,  448. 

Johnson.  Journal  of  a  Tour  to  the  Hebrides, 

The  Life  of  Samuel,  448. 
Jonas,  Justus,  486,  487. 
Jones,  Inigo,  Ixv,  Ixxv. 
Jones,  John,  96. 

Jones,  Robert,  liii,  161,  175,  176. 
Jones,  William,  186,  471,  472,  473. 
Jonson,  Ben,  Ivi,  Ixiii,  Ixiv,  Ixv,  Ixxv,  Ixxviii, 

13,  37,  45,  93,  94,  99,  164,  238,  338,  447, 

465. 

Jonson' 8  Conversations  with  William  Drum- 

mond.  Notes  of  Ben,  465. 
Jortin,  John,  11. 
Joseph,  185. 
Joseph  Andrews,  428. 
Joyeuse,  Francois  de,  282. 
Joy  full  Jewell,  A,  liv,  321. 
Judith,  350. 

Julius  II  (Giuliano  della  Rovere),  301. 

Julyia  Drowneth  herselfe,  19. 

Junius,  Adrien,  471. 

Jure  Belli  Libri  Tres,  De,  611. 

J uris  Interpretibus  dialogi  sex,  A .  Gentilis  de, 

608,  510. 
Jusserand,  J.  J.,  9,  53,  79,  350. 

K.,  I.  or  T.,  261. 
K.,  T.,  327. 

Kalilah  and  Dimnah,  The  Book  of,  457. 

Keats,  John,  xlvi,  xlvii,  236. 

Kelly,  James  Fitzmaurice-  (see  Fitzmaurice) . 

Kemble,  Fanny,  31. 

Kemble,  J.  P.,  94. 

Kemp,  Sir  Thomas,  228. 

Kemp,  William,  100,  101,  238. 

Kepers,  John,  155. 

Kerton,  Henry,  260. 

Killegrew,  Sir  Henry,  249. 

Killegrew,  Katherine  Cooke  (Lady  Kille- 
grew), 249. 

Kinde  Kit  of  Kingston,  97. 

Kinder  und  Hausmdrchen,  237. 

King  of  Scotland's  Negociations  at  Rome, 
The,  415. 

King  Richard  the  First  before  Jerusalem, 
Ixxvi. 

Kinnear,  Thomas,  177. 
Kinsman,  Edward,  271,  272. 
Kinsman,  W.,  271. 
Kinwelmarsh,  Francis,  197,  198. 
Kirbye,  George,  161. 
Kirk,  Ernest  F.,  274. 
Kirk,  R.  E.  G.,  274. 
Kirkman's  Catalogue,  141. 


540 


INDEX 


Knacke  to  Knowe  a  Knave,  A,  100. 
Knight,  Charles,  36,  141,  157. 
Knight  of  the  Burning  Pestle,  The,  52. 
Koeppel,  Emil,  62,  226,  228,  236. 
Koran,  455. 
Kublai  Khan,  387. 
Kyd,  Thomas,  35,  124,  327. 
Kyd,  The  Works  of  Thomas,  327. 
Kyffin,  Maiirice,  409. 

Labyrinthus,  211. 

Lacroix,  Pavil,  69. 

Lady  of  Bohemia,  16,  33. 

Lady  of  Chabrye,  The,  20,  28. 

Lady  of  the  May.  A  Masque,  A,  74. 

Laelia,  216,  217,  218. 

La  Fontaine,  Jean  de,  4,  6,  55. 

Lamb,  Charles,  liii,  158. 

Lambi,  Giovanni  Battista,  338. 

Lambin,  Denis,  399. 

Lamentations  of  Amyntas  for  the  Death  of 
Phillis,  The,  125,  126,  137,  137. 

Lancaster,  Thomas,  439. 

Landi,  Ortensio,  7. 

Landor,  Walter  Savage,  72. 

Landor.  A  Biography,  Walter  Savage,  73. 

Laneham,  Robert,  9,  106. 

Lanfranci  of  Milan,  Ix,  314,  315,  317. 

Lang,  Andrew,  329,  331,  335. 

Langbaine,  Gerard,  98,  107. 

Languet,  Hubert,  Ixviii, 

Larke,  John,  452. 

Larousse,  Pierre  Athanese,  270. 

Lasso,  Orlando  di  (Roland  De  Lattre), 
129. 

Last  Elizabethans,  The,  168. 

La  Tour-Landry  pour  V enseignement  de  ses 

filles,  Livre  du  chevalier  de,  71. 
Laughton,  Professor,  403. 
Laura.  The  Toyes  of  a  Traveller,  115,  146, 

147,  206. 
Laurent,  B.,  507. 
Lauretanae  historiae  lib.  v,  269. 
Lavernhe,  Jean,  107. 
Law  Against  Lovers,  The,  43. 
Lawes,  Henry,  Ixxv,  207,  502. 
Lawrence,  Adam,  239. 
Lawrence,  Leonard,  28,  238,  240,  352. 
Laws  of  Republics,  The,  347. 
Layer  Marney  Hall,  Ixvi. 
Lazarillo  de  Tdrmes,  The  Pleasant  History  of, 

349. 

Lazarillo  de  Tdrmes,  La  Vida  de,  349. 
l  e  Clerc,  Sebastiano,  213,  214. 
Le  Fdvre,  Raoul,  224. 

Le  Grand  d'Aussy,  Pierre  Jean  Baptiste,  80, 
240. 

Le  Grand,  Jacques  Guillaume,  329. 
Leander,  218. 
Lecky,  W.  E.  H.,  30. 
L'£;cluse,  Charles  de,  401. 


Lectionem  et  Epistolarum  quae  ad  Jus  Civile 

pertinent  liber  I-IV,  509. 
Lee,  Elizabeth,  79. 
Lee,  Nathaniel,  15,  178. 
Lee,  Sir  Sidney  L.,  53. 

Legalium  Comitiorum  Oxoniensium  Actio, 
510. 

Legationibus,  A.  Gentilis  de,  510. 
Legge,  Thomas,  141. 
Leighton,  Sir  Frederick,  233. 
Lennard,  Sir  Henry,  130. 
Lennard,  Samson,  438,  478,  479. 
Lentulo,  Scipio,  17,  348. 
Leo  X  (Giovanni  de'  Medici),  178, 184,  372, 
448. 

Leo  XI  (Alessandro  de'  Medici),  184. 

Leone,  Giovanni,  Africano,  383. 

Leoni,  Leon,  163. 

Leoni,  Tommaso,  452. 

Leroux  de  Lincy,  Adrien  Jean  Victor,  69. 

Lesage,  Alain  Ren6,  349. 

Lessius,  or  Leys,  Leonard,  339,  340. 

L'Estang,  Teissier  de,  269. 

L'Estrange,  Sir  Nicholas,  91. 

"Let  the  bird  of  loudest  lay,"  164,  165. 

Letter  from  Kenilworth,  106. 

Letter  lately  written  from  Rome,  A,  362. 

Lettere  di  Consolatione,  Due,  434. 

Lettere  Spirituale,  273. 

Letters  to  Coleridge  (Lamb's),  158. 

Leucippe  e  Clitofonte  di  Achille  Tazio,  Gli 

Amori  di,  482. 
Levi,  D.,  494. 
Lewicke,  Edward,  226. 
Lewkenor,  Sir  Lewis,  408,  409,  410,  411. 
Lexicon  Tetraglotton,  356. 
Lezin  de  Sainte  Scholastique,  Father,  275. 
Liber  Conformitatum  Sancti  Francisci  cum 

Christo,  252. 
Liberi,  or  Libertino,  Pietro,  192. 
Libera  Arbitrio,  Tragedia  di  F.  N.  B.  intito- 

lata,  203. 
Liberum  Arbitrium,  203. 
Libra  di  Novelle  Antique,  456. 
Lights  of  Canopus,  The,  457. 
Lilly,  William,  277,  278. 
Lilly's  History  of  his  Life  and  Times,  William, 

277. 

Linacre,  Thomas,  Ixi,  Ixii. 

Linewray,  John,  79,  475. 

Lingua  volgare,  Le  ricchezze  della,  345. 

Lintot,  Barnaby  Bernard,  461. 

Lion  and  the  Ox,  The,  458. 

Lirum,  lirum,  143. 

Lisley,  John,  161. 

Literature  of  Europe  in  the  15th,  16th,  and 
17th  Centuries,  Introduction  to  the,  210, 
382. 

Lives  of  Hannibal  and  Scipio  Africanus,  The, 
401. 

Lives  of  the  English  Poets,  115,  158. 


INDEX 


541 


Lives  of  the  Noble  Grecians  and  Romanes,  The, 
12,  401. 

Livy  (Titus  Livius),  12,  15,  405,  417. 
Loarte,  Caspar  de,  263. 
Locke,  John,  293. 
Locksley  Hall,  183. 
Locrine,  lii. 

Lodge,  Edmund,  Ixvii. 

Lodge,  Thomas,  Ixxvii,  46,  60,  61,  62,  65, 
156. 

Lodovisio,  Alessandro  (Gregory  XV). 
Lok,  Michael,  375,  377. 
Lomazzo,  Giovanni  Paulo,  334. 
London  Chaunticleers,  The,  3. 
London  Cuckolds,  The,  56,  95. 
London  Prodigal,  The,  238. 
Long,  John,  476. 

Longbeard  (Longsword),  William,  156. 
Longbeard,  The  Life  and  Death  of  WiUiam, 

60,  156,  398. 
Longleat,  Ixvii. 

L6pez  de  G6mara,  Francisco,  371,  372. 

L6pez,  Duarte,  383. 

Lord  of  Virle,  The,  16,  97,  232. 

Loredano,  Giovanni  Francesco,  107. 

Loreto,  or  Loretto,  269. 

Lottini,  G.  F.,  362. 

Louis  IV,  surnamed  "The  Bavarian,"  422. 

Louis  XI,  88. 

Louis  XII,  71. 

Louis  XIII,  435. 

Louis  XIV,  442. 

Love  in  Many  Masks,  94. 

Love  in  the  Darke:  or.  The  Man  of  Business, 

55,  94,  95. 
Lovel,  Thomas,  lii. 
Lover's  Melancholy,  The,  189. 
Lover's  Tale.  The  Golden  Supper,  The,  96. 
Love's  Cruelty,  14,  42,  71. 
Love's  Embassy,  190. 
Love's  Labours  Lost,  36,  114,  351. 
Loves  Martyr:  or,  Rosalins  Complaint,  63, 

163,  164,  165. 
Loyola,  Ignatius  de  (Inigo  L6pez  de  Re- 

calde),  272. 
Loyola,  Vida  de  S.  Ignacio,  272. 
Lucar,  Cyprian,  324,  325,  326. 
Lucas,  Fred.  W.,  378. 

Luchyn  is  Longe  in  Love  wyth  a  Simple 

Mayde,  20. 
Lucian,  211. 

Lucres  of  Scene  in  Tuscane  and  of  her  lover 
Eurialus,  The  goodli  history  of  the  Ladye, 
7,  8,  9. 

Lusiad,  213. 

Luther,  Martin,  252. 

Luthier  de  Cremone,  Le,  189. 

Lydgate,  John,  xliii,  223,  224. 

Lyly,  John,  Ivi,  Ixxv,  21,  46,  49. 

Lyly,  The  Complete  Works  of  John,  470. 

Lynche,  or  Linche,  Richard,  20,  76,  77,  144. 


Lyndsay,  Sir  David,  35. 
Lyric,  Elizabethan,  131. 
Lyvyo  and  Camylla,  19. 

M.,  A.,  475. 

Macaulay,  Thomas  Babington,  278. 
Macbeth,  liv,  447. 

Maccabaeorum  Disp.  et  de  Linguarum  Mis- 

tura.  Ad  I,  512. 
Macdonnell,  Katherine  Manners  Villiers, 

104. 

Machen,  Arthur,  69,  97. 

Machiavel,  422. 

Machiavel  and  the  Devil,  422. 

Machiavelli,  Niccold,  1,  li,  Ixiv,  Ixxx,  14,  43, 

44,  71,  72,  106,  216,  293,  305,  306,  307, 

308,  310,  404,  405, 417,  420, 421,  422, 423. 

424,  425,  441. 
Machiavelli  and  the  Elizabethan  Drama,  423. 
Machiavelli  on  the  Reformation  in  England, 

The  Influence  of,  425. 
Machiavellus,  423. 

Machiavel' s  Discourses  upon  the  First  Decade 

of  T.  Livius,  417,  421,  422,  425. 
Machiavel' 8  Prince,  Nicholas,  420. 
Machin,  Lewis,  16,  20,  42,  97,  232. 
Machwilliam,  M.  Hen.,  323. 
Mclntyre,  J.  Lewis,  491. 
Macklin,  Charles,  207. 
MacNutt,  Francis  Augustus,  372,  375. 
Macque,  Jean  (or  Giovanni)  de,  129,  163. 
Macready,  William  Charles,  227. 
Macrinus,  Marcus  Opelius,  393. 
Macrobius,  Ambrosius  Theodosius,  115. 
Mad  Lover,  The,  43. 

Madrigales,  The  Second  Set  of  (Wilbye)  ,119, 
173,  175. 

Madrigales.  The  Triumphes  of  Oriana,  xlix, 
141,  149,  160,  161,  162,  175. 

Madrigalles  to  four  Voyces  (Morley),  54, 141. 

Madrigalls  Englished,  The  First  Sett  of  Ital- 
ian, 129,  131. 

Madrigals,  The  First  Set  of  English  (Ward), 
179. 

Madrigals,  The  First  Set  of  English  (Wilbye), 
61,  155. 

Madrigals  to  five  Voyces,  163,  154. 
Madrigals  to  three,  four,  five  or  six  Voyces, 

148,  172. 
Maffei,  Giovanni  Pietro,  286. 
Magalhaes,  Fernao  de  (Magellan),  372.  373. 
Magellan's  Voyage  Around  the  World,  373. 
Magia  Naturali,  De,  293. 
Magiae  Naturalis  .  .  .  libri  II II,  Ixiii,  341. 
Magini,  Giovanni  Antonio,  335,  338,  339. 
Mahaffy,  J.  P.,  198. 
Mahomet,  13,  42,  68,  398. 
Mahomet  and  Irene,  13. 

Mahumetane  or  Turkish  Hystorye,  The,  413. 
Maid  in  the  Mill,  The,  15,  43,  83. 
Maiden's  Blush:  or,  Joseph,  The,  185. 


INDEX 


Main,  David,  183. 

Maitland,  Thomas,  Lord  Dundrennan,  182. 
Maitland  Club,  182. 
Majano,  Giovanni  da,  Ixvi. 
Major,  Richard  Henry,  378,  379. 
Malcontent,  The,  447,  467. 
Malespini,  Celio,  4,  97. 
Malim,  or  Malin,  William.  396. 
Malone,  Edmund,  37,  97. 
Malone  Society,  201. 

Malvezzi,  Virginio,  Marquis  di,  Ixxxi,  418, 
419,  420,  427,  428,  429,  430,  432,  434,  435. 
Mambrino  da  Fabriano,  23. 
Mamillia,  228. 

Mandozze,  The  Historic  of  John  Lorde,  238. 
Mandragola,  216. 
Manassi,  Niccolo,  332. 
Manelli,  Giovanni  Maria,  496. 
Manfredi,  Fulgenzio,  264. 
Manifestation  of  the  Motives,  etc..  A,  373. 
Manio,  L.,  23. 

Manners,  John,  8th  Earl  of  Rutland,  437. 
Manners,  Roger,  5th  Earl  of  Rutland,  352. 
Mansell,  Sir  Robert,  xxxix. 
Mantuan,  113,  114,  115,  125,  140,  351,  506, 
507. 

Mantuani  .  .  .  Adolescentia,  seuBucolica,B., 
506. 

Manuele,  Hugonis  Platti,  509. 
Manuzio,  Aldo,  the  Younger,  329,  507. 
Manuzio,  Antonio,  390. 
Manuzio,  Paolo,  507. 

ManzoUi,  Pietro  Angelo  (Palingenius),  111, 
112,  507. 

Maraffi,  Bartolommeo,  28,  29,  238,  239. 

Marcolini,  or  Marcolino,  Francesco,  378. 

Marcus  Aurelius  Antoninus,  originally  Mar- 
cus Annius  Verus,  393. 

Marenzio,  Luca,  129, 130, 131, 132, 133, 134, 
163,  175. 

Margaret  of  Austria,  480. 

Margarite  of  America,  A,  Ixxvii,  65. 

Marguerite  de  Bourbon,  Duchesse  de  Niver- 
nois,  68. 

Maria  d'Aquino,  "Fiammetta,"  18,  51. 
Mariage  and  Wiving,  Of,  148,  157,  206. 
Marini,  or  Marino,    Giovanni  Battista, 

Ivi,  182,  184,  185,  186,  188,  189,  190,  191, 

213. 

Mariotto  and  Giannozza,  225. 
Markham,  Clements  R.,  341. 
Markham,  Gervase,  16,  20,  42,  97,  168,  170, 

172,  173,  181,  232. 
Marlowe,  Christopher,  xlii,  23,  54,  73,  139, 

423,  424. 
Marmion,  Shackerley,  95. 
Marney,  Sir  Henry,  Ixvi. 
Marshall,  William,  502. 
Marson,  George,  161. 

Marston,  John,  xlii,  Ixxv,  14,  15,  16,  19,  32, 
42,  49,  86,  94,  164,  178,  447,  467. 


Martelli,  Lodovico,  66. 
Martin,  Anthony,  xlvii,  261,  262. 
Martin,  Jean,  329. 
Martinengo,  Nestore,  Count,  396. 
Martire  d'Anghiera,  Pietro,  371,  372,  373, 
375. 

Mary  I  (Mary  Tudor),  Ixii,  Ixxix,  86,  113, 

230,  245,  247,  248,  346. 
Mary  Queen  of  Scots  (Mary  Stuart),  Ixvii. 
Masaniello  (Tommaso  Aniello),  432,  433. 
Massaino,  Tiburtio,  163. 
Massaniello,  The  Second  Part  of,  432,  433. 
Massinger,  Philip,  16,  33,  42,  95,  97,  458. 
Massonius,  Robert,  261,  262. 
Masuccio  Salernitano,  xli,  12,  14,  16,  86,  113, 

225. 

Materialen  zur  Kunde,  94,  211,  216. 
Matthew,  Sir  Tobie,  Ixxx,  279,  501,  502. 
Matthieu,  Pierre,  98,  99,  287. 
Maugin,  Jean,  53. 
Mavinus,  O.,  265. 
Maximilian  II,  414. 

Maximinus,  or  Maximin,  Caius  Julius  Ve- 
rus, 393. 

Mazella,  Scipione,  438. 

Measure  for  Measure,  43,  48,  73,  83,  86,  200. 

Medici,  Alessandro  de',  67. 

Medici,  Alessandro  de'  (Leo  XI). 

Medici,  Cosimo  de'.  The  Elder,  xxxviii,  425. 

Medici,  Cosimo  I  de',  181,  457,  499. 

Medici,  Cosimo  II  de',  Ixxx,  407,  501. 

Medici,  Francesco  I  de',  Grand  Duke  of 
Tuscany,  98. 

Medici,  Giovanni  de'  (Leo  X). 

Medici,  Giuliano  de',  Ixxi,  448,  450. 

Medici,  Giulio  de'  (Clement  VII). 

Medici,  Lorenzino  de',  67. 

Medici,  Lorenzo  de',  Duke  of  Urbino,  421. 

Medici,  Lorenzo  de',  "The  Magnificent," 
405. 

Medici,  Piero  I  de',  xxxviii. 
Meditationes  de  Rosario  B.  Virginis,  263. 
Meditations  uppon  the  Passion  of  our  Lord 

Jesus  Christ,  365. 
Meditazioni,  273. 
Mel,  Rinaldo  del,  129. 
Melbancke,  Bryan,  49,  226, 
Meliado,  Sir,  36. 

Meliadus,  Chevalier  de  la  Croix,  27. 
Meliboeus,  124,  125,  140. 
Memoria  Reparanda,  De,  311. 
Memorials  (Strype),  Ivii,  247,  346. 
Memorie,  The  Castel  of,  310. 
Menaphon,  xliii,  54,  127. 
Mendelssohn-Bartholdy,    Jakob  Ludwig 

Felix,  192. 
Mensa  Philosophica,  115. 
Merbury,  Charles,  489. 
Merchant  of  Venice,  The,  59,  96,  336,  407, 

410. 

Meres,  Francis,  41,  124,  139,  165,  473. 


INDEX 


543 


Meretricem  dolosam.  In,  265. 

Merry  Jests  concerning  Popes,  Menkes  and 

Friers,  91. 
Merry  Passages  and  Jests,  91. 
Merry  Tales  of  Gotham,  All  About  the,  100. 
M erry  Tales  of  the  Mad  Men  of  Gottam,  The, 

4,  56,  100. 

Merry  Wives  of  Windsor,  The,  14,  42,  57,  97, 

103,  423. 
Merula,  Giorgio,  347,  348. 
Mery  Tales,   Wittie  Questions  and  Quicke 

Answeres,  4,  40,  49,  57,  80,  81,  87,  88,  89, 

90,  102. 

Mery  Talys,  A.  C,  xl,  3,  4,  81,  91,  100,  106. 
Metamorphoses,  49. 
Mexia,  Pedro,  22,  23,  24,  62,  63,  414. 
Meyer,  Edward,  423. 

Micanzio,  Fulgenzio,  Ixi,  276.  277,  292,  294. 

Michaud,  Joseph  Frangois,  235. 

Michelangelo  (Michelangelo  Buonarroti), 
lx\'i,  Ixviii,  72,  181. 

Middleton,  Thomas,  lix,  13,  14,  43,  48,  71, 
93,  94,  98,  236,  280,  338,  406,  502. 

Mildmay,  Lady  Frances,  36. 

Mildmay,  Sir  Walter,  345. 

Militia  del  Gran  Duca  di  Thoscana,  499. 

Millais,  Sir  John  E.,  233,  236. 

Miller,  J.  Dewitt,  488. 

Milles,  Thomas,  23. 

Milman,  Henry  Hart,  Ixxvi. 

Milnes,  Richard  Monckton  (Lord  Hough- 
ton), 231,  232. 

Milton,  John,  xlvii,  Ixxiv,  Ixxv,  Ixxxi,  139, 
158,  162,  181,  247,  428,  502,  503,  504. 

Milton,  John  (the  elder),  160,  161,  162. 

Milton,  Poems  by  Mr.  John,  502,  503. 

Minadoi,  Giovanni  Tommaso,  Ixi,  406, 
407. 

Minerva  Britanna,  160. 
Minos  and  Pasiphae,  30. 
Mirandola,  Giovanni  -Pico  della,  114,  190, 
347,  348. 

Mirandola:  A  Platonick  Discourse  upon  Love, 

Pico  della,  190. 
Miroir  des  Dames,  240. 
Mirror  of  Mans  Lyfe,  The,  260. 
Mirror  of  Mirth,  The,  329. 
Misfortunes  of  Arthur,  The,  183. 
Misteries  of  the  Rosarie,  How  to  meditate  the, 

263,  273. 

Mistress:  or  Several  Copies  of  Love-Verses, 
The,  215. 

Modell  of  Wit,  Mirth,  Eloquence  ond  Conver- 
sation, The,  92,  93. 

Modena,  Leo  (Judah  Arieh),  434. 

Mohammed,  or  Mahomet,  279. 

Mohammed  II,  394. 

Moli^re,  Frangois  de,  86. 

Molyneux,  Emery,  382,  512. 

Monorchia  di  Spagna,  I  successi  principali 
deila,  430. 


Monorchia  Hispanica,  Discursus  Th.  C.  de, 
437. 

Monorchia  Messiae,  De,  441. 
Monarchic  of  Spaine,  The  Chief e  Events  of  the, 
430,  510. 

Monarquia  d'EspaHa,  Successes  principales, 
430. 

Monck,  or  Monk,  George,  1st  Duke  of  Albe- 
marle, 491. 

Monmouth,  Duke  of  (James  Fitzroy),  465, 
466. 

Monsieur  Thomas,  or  Father's  Own  Son,  96, 
227. 

Montacute,  A  Device  of  a  Maske  for  the  right 

honorable  Viscount,  225,  397. 
Montaigne,  Michel  de,  Ixiv,  186,  400,  401. 
Montaigne,  Essayes  on  Morall,  Politike,  and 

Millitarie  Discourses  of  Lo.  Michaell  de, 

186. 

Montaigne,  Essais  de,  401. 
Monte,  Filippo  di,  129,  163. 
Montefeltro,  Guidobaldo  di,  Duke  of  Urbino, 
448. 

Montemdr,  Jorge  de,  73,  74,  75. 
Montreux  Nicolas  de   (Olenix  du  Mont 

Sacr6),  15,  205,  206. 
Moral  Filosophia  del  Doni,  La,   97,  456, 

457. 

Moral  Methode  of  Civile  Policie,  A,  398. 
Morall  Philosophic  of  Doni,  The,  456. 
Mordaunt,  Henry,  2d  Earl  of  Peterborough, 
192. 

More,  Henry,  455. 
More,  Sir  Thomas,  lii,  liii,  Ixxii. 
Morehead,  William,  491. 
Morley,  Henry,  158. 

Morley,  John,  1st  Viscount  Morley  of  Black- 
burn, 421,  425. 

Morley,  Thomas,  xlix,  Ixxiv,  54,  126,  141, 
142,  143,  145,  153,  154,  160,  161,  163,  172, 
179,  191,  497,  498. 

Morlino,  Girolamo,  5,  40. 

Morte  di  Madonna  Laura,  In,  129,  138. 

Mortimeriados,  180. 

Moryson,  Fynes,  Ixiv,  410,  411. 

Most  Lamentable  and  Tragicall  Ilistorie,  etc., 
37.  233. 

Most  Strange  and  Wonder  full  Prophesie,  A, 
333. 

Mother  Hubberds  Tale,  Prosopopoia:  or, 
Ixxiv. 

Motives  for  renouncing  the  Protestant  Religion, 

My,  lix,  280. 
Motti  e  Desegni  d'Arme  e  d'Amore,  186. 
Mourning  Muse  of  Thestylis,  The,  478. 
Much  Ado  About  Nothing,  3,  42,  43,  101,  136, 

229,  446,  451. 
Mucius  Scaevola,  12. 

Muiopotmos:  or  The  Fate  of  the  Butterflie, 

Ixxiv,  138. 
Mulcaster,  Richard,  229. 


544 


INDEX 


Munday,  Anthony,  xlii,  lii,  51,  52, 59, 60,  63, 

64,  65,  201,  217. 
Mundy,  John,  161. 
Miiratori,  Luigi  Antonio,  19. 
Murmellius,  Johannes,  506. 
Murray,  Sir  David,  of  Gorthy,  177,  178. 
Musa  Madrigalesca,  La,  128,  130,  133,  142, 

143,  149,  154,  156,  161,  175,  191. 
Muses  Garden  of  Delights,  The,  liii. 
Musica  Sacra  to  Size  Voyces,  171. 
Musica  Transalpina,  138,  129,  130, 131, 156, 

163,  192. 

Musical  Antiquarian  Society,  142,  148,  155, 
159,  173. 

Musical  Dreame:  or  The  Fourth  Booke  of 

Ayres,  A,  175. 
Musicall  Banquet,  A,  177. 
Mustek's  Duel,  188. 
Mustard,  W.  P.,  115,  478. 
Muto  che  parla,  II,  475. 
Mysterious  Mother,  The,  67. 

N.,  N.,  436,  439. 

N.,  R.  E.  (Napier,  Robert,  Esq.?),  338. 

Nabbes,  Thomas,  Hi. 

Nanini,  Giovanni  Maria,  130,  134. 

Nannini,  Remigio,  Fiorentino,  413,  414. 

Napier,  Robert,  338. 

Nardin,  Th.,  412. 

Nash,  Thomas,  xli,  xliii,  Ixxiv,  56,  124,  127, 

128,  165,  447. 
Nastagio  and  Traversari,  A  Notable  Historye 

of,  38,  239,  230,  231,  235. 
Nation,  The,  295,  432. 
Natural  Magick,  Ixiii,  341. 
Naturall  and  Artificiall  Conclusions,  334. 
Navarre,  Queen  of  (Marguerite  d'Angou- 

16me),  xli,  12,  14,  21,  43,  47,  48,  66,  67, 

68,  69,  71,  406. 
Navarres  Tales,  The  Queene  of,  66,  67,  68,  70. 
Navigationi  et  Viaggi,  375,  376,  377,  384, 

387. 

Neale,  Sir  Paul,  289. 

Nebrija,  Antonio  de,  371. 

Negri  di  Bassano,  Francesco,  202,  203. 

Negromante,  II,  216. 

Neile,  Richard,  lix. 

Nenna,  Giovanni  Battista,  186,  471,  472. 
Nennio.  Nel  quale  si  ragiona  di  Nobiltd,,  II, 
186,  471. 

Nennio,  or  A  Treatise  of  Nobility,  186,  471, 

472,  473. 
Nepos,  Q.  Veranius,  15,  314. 
Nestor,  365. 

Neufville,  Nicolas  de,  Seigneur  de  Villeroi, 
99. 

Newdigate,  John,  Ixxv. 
Newdigate  Prize,  Ixxv,  Ixxvi. 
Newdigate,  Sir  Roger,  Ixxvi. 
New  map,  382. 

Newe  Jewell  of  Health,  The,  302. 


Newes  from  Italy  of  a  Second  Moses,  367. 

Newes  from  Rome,  336. 

New-Found  Politick,  The,  416,  439. 

Newlander's  Cure,  The,  416. 

Newton,  Sir  Adam,  514. 

Newton,  Thomas,  of  Cheshire,  34,  62,  318, 

319,  398. 
Nicander  and  Lucilla,  44. 
Nice  Valour,  The,  3. 
Nicholson,  Brinsley,  164. 
Nicolas,  Sir  Nicholas  Harris,  166. 
Nicolson,  Richard,  161. 
Night  Walker:  or  The  Little  Thief,  The,  94. 
Nights  of  Straparola,  The,  238. 
Nineteenth  Century,  The,  350,  425. 
Ninfale  Fiesolano,  72,  233. 
Nissena,  107. 

Nobilitate  e  praecellentia  foeminei  sezua,  De- 

clamatio  de,  480. 
Nobility  of  Women,  Declamation  on  the,  479, 

480. 

Nobility  of  Women,  The,  257,  479,  506. 
Nobiltd,  delle  Donne,  La,  480,  481. 
Noble  Art  of  Venerie  or  Hunting,  The,  133, 
320. 

Noblesse  et  excellence  du  sexe  feminin,  H.  C. 

A.  sur  la,  480. 
Noblesse  et  pre-eccellence  du  sexe  feminin, 

Diclamatio  de  la,  480. 
Noctes  Atticae,  23. 
Noel,  Henry,  125,  126. 
Non  nobis,  Domine,  130,  191. 
Nonsuch,  xxxix,  Ixvi,  Ixvii. 
Norcome,  Daniel,  161. 
Norris,  Sir  Edward,  470. 
Norris,  Henry,  469. 
Norris,  Sir  Henry,  470. 
Norris,  Sir  Henry,  469,  470. 
Norris,  Sir  John,  470. 
Norris,  Margaret  Williams,  469,  470. 
Norris,  Maximilian,  470. 
Norris,  Sir  Thomas,  470. 
Norris,  William,  470. 
North,  Sir  Roger,  456. 
North,  Sir  Thomas,  xlvi,  12,  401,  402,  404, 

456,  457. 
North  American  Review,  The,  124. 
Northcote,  Stafford  Henry,  Earl  of  Iddes- 

leigh,  112. 
Northern  Mothers  Blessing,  The,  150. 
Northward  Hoe,  4. 
Norton,  Robert,  301. 
Norton,  Thomas,  252,  253,  489. 
Notes  out  of  Girolamo  Bardi,  410. 
Notredame,  Jean  de,  235. 
Notte,  La,  213. 

Novelle  amorose  de  signori  academici  incog- 

niti,  107. 
Novellino,  II,  14,  16,  225. 
Nowell,  Nowel  or  Noel,  Alexander,  lix,  115, 

256. 


INDEX 


545 


Nuom  Scienza  (gunnery),  326. 
Nuttall,  P.  A.,  210,  249. 

Obedientia  et  fide  uxoria  mythologia,  De,  240. 

"O  bella  eta  delV  oro,"  184,  186. 

"0  del  silentio  figlio,"  Ivi,  182. 

"O  mistress  mine,"  141. 

"O  vaghe  montanini  pasturelle,"  xlix. 

Observations  on  the  Faerie  Queene,  11. 

Obstinate  Lady,  The,  214. 

Occasional  Issues,  20,  39,  144,  145,  148,  152, 

164,  206,  237. 
Ochieri,  P.,  23. 

Oehino,  Bernardino,  of  Siena,  li,  245,  246, 
247,  249,  250,  251,  261,  295,  296. 

Ode.  "In  heaven  the  blessed  angels  have 
their  being,"  167. 

Odemira,  Damiano  da,  311,  312. 

Odyssey,  350. 

Oesterley,  H.,  4. 

Old  English  Jest-Boohs,  80,  81,  86,  90,  100, 
102,  106. 

Old  English  Plays,  A  Select  Collection  of,  206. 

Old  Wives  Tale,  The,  56,  100. 

Oldys,  William,  26,  107,  497. 

Oliphant,  Thomas,  128,  129,  130,  132,  133, 

134, 142,  143,  149, 154,  156,  159,  161, 175, 

180,  191. 

Olivarez,  Gasparo  de  Guzman,  428,  429. 
Olor  Iscanus,  429. 
On  a  Girdle,  Ixxiii,  431. 
Onosander,  314. 
Onosandri  Strategicus,  314. 
Onosandro  Platonico,  313,  314. 
Opdycke,  Leonard  Eckstein,  446,  451. 
Opiologia,  337. 

Opusculum  plane  divinum  de  mortuorum  res- 

urrectione,  504. 
Orator,  The,  59,  65. 
Oratore,  De,  447,  448. 

Orbe,  or  The  Hislorie  of  the  west  Indies,  De 
Nouo,  875. 

Orbe  Novo,  The  Eight  Decades  of  Peter  Martyr 

D'Anghera,  375. 
Ordini  di  cavalcare,  GU,  305. 
Orlando  Furioso,  117, 135, 136, 169, 173,  228, 

229,  506. 

Orlando  Furioso  in  English  Heroical  Verse, 
135. 

Orlando  Furioso,  The  History  of,  135. 
Orlando  Inamorato,  18,  148,  152,  153,  206. 
Orlando  Innamorato,  152. 
Orlando  Innamorato  Translated  into  Prose, 

etc.,  153. 
Ornatus  and  Artesia,  53. 
Oronta,  189,  190. 
Orosius,  Paulus,  15. 
Ortchard  of  Repentance,  The,  32,  33. 
Osborne,  Dorothy,  431,  432. 
Osborne  to  Sir  William  Temple,  Letters  from 

Dorothy.  432. 


Osmund  the  Greek  Turk  or  The  Noble  Servant, 

13,  42,  68. 
Otia  Sacra,  366. 

Ottoman  of  Lazaro  Soranzo,  The,  385. 

Otway,  Thomas,  85,  94. 

Ouvry,  Frederick,  55,  172. 

Overthrow  of  Stage  Plays,  The,  514. 

Ovid  (L.  PubUus  Ovidius  Naso),  24,  49, 

77,  211,  238,  468. 
Owen,  John,  494. 

Oxford.  Brief  Historical  and  Descriptive 
Notes,  335. 

P.,  F.,  352. 
P.,G.,284. 
P.,  P.,  367. 
P.,  T.,  261. 

P.,  W.  (Philip,  William?),  333. 
P.,  W.  L.,  of  Saint  Swithin's,  260. 
Pacyent  Gresell,  The  History  of  meke  and, 
241. 

Padre  di  Famiglia,  II,  li,  327. 
Padua,  University  of,  Ixi,  Ixii,  Ixiii,  292,  294, 
407. 

Painter,  William,  xl,  xli,  xlvii,  11,  12,  19,  20, 
21,  24,  30,  32,  33,  38,  41,  48,  49,  67,  70,  71, 
86,  97,  103,  144,  151,  152,  178.  225.  228, 
232,  234,  236. 

Palace  of  Pleasure,  The,  xl,  U,  21,  24,  30,  32, 
41,  49,  67,  70,  86,  103,  144.  151,  152,  178, 
225,  228,  232,  234,  236. 

Palace  of  Private  Pleasure,  A  Poor  Knight: 
his,  226. 

Paleario,  Aonio  (Antonio  della  Paglia),  269, 
296,  297. 

Paleario,  Life  and  Times  of  Aonio,  269,  297. 
Palengenius  (see  Pietro  Angelo  Manzolli). 
Palestrina,  Giovanni  Pierluigi  da,  129,  131, 

143,  163,  191. 
Palgrave,  Francis  T.,  124. 
Palla,  Battista  dalla,  307. 
Palladis  Tamia:  Wits  Treasury,  41,  124,  139. 
Pallavicino,  Benedetto,  130. 
Pallavicino,  Gaspare,  Ixxi,  450. 
Pahnerin  d'  Oliva,  51,  52,  53. 
Palsgrave,  John,  350. 
Pancirolli,  Gui,  508. 
Paolo,  Del  Genio  di  Fra,  294. 
Paolo,  Vita  del  Padre,  Ixi,  292. 
Parabosco,  Girolamo,  116,  120,  123. 
Paradin,  Claude,  471. 
Paradise  Lost,  247. 

Paradise  of  Dainty  Devices,  The,  xlviii,  liv, 
119. 

Paradiso,  II,  Iv,  Ivi,  6,  43. 

Paraphrase  upon  the  Seaven  Penitentiall 

Psalms,  387. 
Paraphrases,  S.  Gentilis  in  XXV  Davidis 

Psalmos  epicae,  508. 
Paraphrasis  aliquot  Psalmorum  Davidis,  608. 
Parasitaster,  The,  86,  94. 


546 


INDEX 


Parismus,  53. 

Parker,  Henry,  8th  Baron  Morley,  112, 113, 
402. 

Parker,  Matthew,  250. 

Parker,  William,  4th  Baron  Monteagle  and 

11th  Baron  Morley,  169. 
Parliament  of  Bees,  The,  5. 
Parnassus,  165. 
Parnell,  Thomas,  455. 
Parr,  Queen  Catherine,  xxxvii,  113. 
Parr,  William,  Marquis  of  Northampton, 204. 
Parry,  Edward  Abbott,  432. 
Part  of  This  Summer's  Travels,  or  News  from 

Hell,  Hull,  and  Hallifax,  447. 
Parthenia,  218. 

Parthenopoeia:  or  The  History  of .  .  .  the 

Kingdom  of  Naples,  438. 
Paruta,  G.,  440. 
Paruta,  Paolo,  Ixxxi,  440. 
Pascale,  Lodovico,  66. 
PasquaUgo,  Luigi,  201,  216. 
Pasquillus  Ecstaticus,  256. 
Pasquil's  Jests,  49,  19,  87. 
Pasquine  in  a  Trance,  256. 
Passaggiere  di  Benvenuto  Italiano,  II,  355. 
Passenger  of  Benvenuto  Italiano,  The,  355, 

501. 
Passi,  C,  23. 

Passionate  Centurie  of  Love,  xl,  xli,  124,  174. 
Passionate  Pilgrim,  The,  xlviii,  148, 149, 159. 
Pastor  Fido,  II,  1,  168,  174,  186,  204,  205, 

212,  213,  219. 
Pastor  Fido:  or  The  Faithful  Sheapheard,  II, 

304,  496. 

Pastor  Fido:  or  The  Faithfull  Shepheard,  II 
(Fanshawe),  205,  212,  496. 

Pastor  Fido:  or  The  Faithfull  Sheapheard,  II 
(Sidnam),  205,  213. 

Pastor  Fido:  tragicomedia  pastorale,  II,  496. 

Pastor  Fidus,  205,  219. 

Pastora,  La  Fida,  205,  315. 

Pastorall,  A  (Daniel),  186. 

Patient  Grisel,  The  Ancient  True  and  Admir- 
able History  of,  81,  82,  242. 

Patient  Grissell,  An  excellent  Ballad  of  a  No- 
ble Marquess  and,  240. 

Patient  Grissell,  The  Pleasant  and  Sweet  His- 
tory of,  83,  240. 

Patient  Grissil,  The  Pleasant  Comedie  of,  96, 
241. 

Patient  Grizill  (puppet  play),  96,  241. 
Patientia  Griselidis,  De,  96. 
Patrick,  Saint,  272. 
Patrick,  Simon,  423,  424. 
Patrizi,  Francesco,  397. 
Patrizi,  Francesco  (Bishop  of  Gaeta),  398, 
399. 

Patsi,  The  Life  of  the  Holy  .  ,  ,  Mother  Suor 

Maria  Maddalena  de,  375. 
Paul,  The  Life  of  the  Most  Learned  Father, 
,  276,391. 


Paul  IV  (Giovanni  Pietro  Caraffa),  268. 
Paul  V  (Camillo  Borghese),  263,  264,  266, 

271,  272,  281,  282,  283,  284,  285,  514. 
Payne,  John,  43,  93. 
Paynell,  Thomas,  169,  224. 
Pazzi,  Cattarina  de  Geri  de',  275. 
Pazzi,   Vita  della  veneranda  Madre  Suor 

Maria  Maddalena  de',  275. 
Peacham,  Henry,  Iviii,  135,  160,  171,  447. 
Pecorone,  II,  12,  43,  55,  57,  59,  86. 
Pedro  de  Luna  (see  Benedict  XIII). 
Peele,  George,  13,  14,  42,  68,  124,  139,  197. 
Peend,  Thomas  de  la,  225,  228. 
Peiresc,  Nicolas  Claude  Fabri  de,  292,  295. 
Peiresc,  Vita  viri  illustri  Claudii  de,  Ixi,  294, 

295. 

Pellegrino  Inglese,  II,  485,  486. 
Pendasio,  Federico,  332. 
Penitentiall  Psalms,  171. 
Penni,  Bartolommeo,  Ixvi. 
Pentimento  Amoroso,  II,  218. 
Pepys,  Samuel,  8,  241. 
Pepysian  Library,  8. 
Pepys' s  Collection  of  Ballads,  337. 
Pepys's  Diary,  96,  241. 
Percy,  Henry,  9th  Earl  of  Northumberland, 
145. 

Percy,  Lady  Lucy,  145. 

Percy,  Thomas,  175. 

Percy,  WilUam,  14. 

Percy  Society,  82,  86,  97,  240,  315. 

Perera,  Galeotto,  374. 

Peretti,  FeUce  (Sixtus  V). 

P^rez,  Alonso,  73. 

P6rez  de  Montalbdn,  Juan,  189,  190. 

Periam,  Lady,  142. 

Perillo  and  Carmosyna,  20. 

Perimides  the  Blacke-Smith,  xli,  53,  141. 

Perlin,  iStienne,  xxxviii. 

Perondinus  Pratensis,  Petrus,  23. 

Perrenot  de  Granvelle,  Antoine  de,  262. 

Perron,  Jacques  Davy  du,  513. 

Pertharite  Roy  des  Lombards,  Tragedie,  61. 

Pertinax,  Helvius,  393. 

Peruzzi,  I,,  xxxviii. 

Peter's  Complaint,  St.,  119. 

Peterson,  Robert,  415,  459,  460. 

Petit  Traits  de  A.  et  Lucenda,  239. 

Petite  Pallace  of  Pettie  his  Pleasure,  A,  1,  39, 
30,  31,  225,  228,  232. 

Petrarca,  Francesco,  xli,  xlii,  xliii,  xliv,  Iv, 
15,  24,  50,  113,  116,  117,  119,  121,  122, 
123,  124,  125,  129,  138,  140,  147,  155,  168, 
174,  178,  182,  183,  184,  188,  189,  205,  240, 
345,  346,  354,  355,  449,  467,  509. 

Petr arches  Visions,  xxxvii. 

Petrarchs  Seven  Penitential  Psalms,  179. 

Petre,  Sir  William,  Ixxix. 

Petrucci,Xodovico  (see  Petruccio  Ubaldini). 

Pettie,  George,  29,  30,  31,  225,  228,  232,  468, 
469. 


INDEX 


547 


Pettigrew,  T.  J.,  315. 
Peyrard,  Frangois  (Rofititg),  481. 
Peyrat,  Jean  du,  462. 
Philip  II,  262,  332.  402. 
PhiUp  III,  285. 
Philip  IV,  420,  429. 
Philip  of  Macedon,  310. 
Philip,  William,  Ixiii,  333. 
Philips,  Ambrose  (Lives  of  the  English  Poets), 
115. 

Phillips,  Edward,  181,  428. 

Phillips,  W.  AUson,  425. 

Phillpot,  George,  148. 

Philocopo,  17,  153,  235. 

Philomela.  The  Lady  Fitzwatera  Nightingale, 

67,  58,  227. 
Philomela's  Ode  that  She  Sung  in  her  Arber, 

58. 

Philosopher's  Banquet,  The,  90. 
Philothei,  J.  Bruni  .  .  .  Ars  Reminiscendi, 
509. 

Philotimus,  18,  49,  50,  226. 

Philotus,  45. 

Philotus  and  Emilia,  44,  45. 

Phiston,  or  Piston,  William,  224,  256,  261, 

361,  408. 
Phocas,  247. 
Phoenissae,  198,  199. 
Phoenix  Nest,  The,  125. 
Phrases  Linguae  Latinae  ah  A.  Manviio, 

507. 
Phyllis,  184. 

Physicke  against  Fortune,  467. 
Pia,  Emilia,  Countess  of  Montefeltro,  448, 
450. 

Piccolomini,  Enea  Silvio  (Aeneus  Sylvius), 

Pius  II,  7,  8,  116,  117,  122. 
Picture,  The,  16,  33,  42. 
Pigmalions  freinde  and  his  Image,  30. 
Pierce's  Supererogation,  124,  321. 
Pierre  de  Touche  Politique,  416. 
Pietra  del  Paragone  Politico,  416,  438,  439. 
Pigafetta,  Filippo,  383. 
Pigafetta,  Francesco  Antonio,  of  Vicenza, 

371,  372,  373. 
Pilgrim:  A  Dialogue  on  the  Life  and  Actions 

of  Henry  VIII,  The,  346,  485,  486. 
Pilgrimage  to  Paradise    coyned    with  the 

Countess  of  Pembrokes  Loue,  Ixxiii. 
Pilgrime  of  Casteele,  The,  103. 
Pimenta,  Niccold,  386. 
Pindar,  Sir  Paul,  289. 

Pinello  di  Gherardi,  Giovanni  Battista,  129. 
Pinturicchio  (Bernardino  di  Betto  di  Biogio) , 
241. 

Pius  II  (See,  Piccolomini). 

Pix,  Mary  Griffith,  94. 

Plaine  and  Easie  Introduction  to  Practicall 

Musicke,  A,  141,  191. 
Plat,  or  Piatt,  Sir  Hugh,  509. 
Plato,  U,  Ixx,  Ixxi,  476,  491. 


Platonic  Discourse  on  Love  written  in  Italian 

by  John  Picus  Mirandola,  190. 
Plautus,  Titus  Maccius,  1,  209. 
Plays  Confuted  in  Five  Actions,  xlii. 
Pleasant  Conceites  of  Old  Hobson  the  Merry 

Londoner,  The,  81,  86,  87,  102. 
Pleasant  Dialogues  and  Drammas,  211. 
Pliny,  the  Elder  (Caius  Plinius  Secundus), 

77,  123. 
Plumptre,  C.  E.,  246. 
Plutarch,  11,  12,  13,  15,  30,  401,  402. 
Plutarch's  Parallel  Lives,  402. 
Poemata  Varia,  185. 

Poems:  Amorous,  Funerall,  Divine,  Pastorall, 

159,  181,  208. 
Poems  and  Translations,  189. 
Poems,  Chiefly  Lyrical,  etc.,  105,  206. 
Poems:  In  Divers  Humors,  149. 
Poems,  Lyricke  and  Pastorall:  Odes,  Eglogs, 

The  Man  in  the  Moone,  180. 
Poetical  Rapsody,  A,  124,  166,  168. 
Poets  and  Poesie,  Of,  207. 
Poets  of  Great  Britain,  A  Complete  Edition 

of  the,  182. 

Poggio-Bracciolini,    Giovanni  Francesco, 

Ixxxi,  5,  6,  40,  80,  87,  88,  90,  100. 
Polemo-Middinia,  184. 
Poliphili  Hypnerotomachia,  329. 
Poliphili,  Songe  de,  329. 
Poliphilus,  The  Dream  of,  329. 
PoHti,  Adriano,  215,  216. 
Politi,  Lancellotto  (Ambrosio  Cattarino,  da 

Siena),  270. 
Politic  Favourite,  The  Christian,  429. 
Politick  Touchstone,  The,  438,  439. 
Politicke  Christian-Favourite,  The  Pourtract 

of  the,  428,  429. 
Politico  Christiana,  II  Ritratto  del  Privato, 

428,  429. 

Poliziano,  Angelo  (Angelo  Ambrogini),  113, 

347,  348,  393. 
Polo,  The  first  Booke  of .  .  .  Master  Marco, 

387. 

Polo  the  Venetian,  The  Book  of  Ser  Marco, 
387. 

Polo,  Gaspar  Gil,  73. 
Polo,  Marco,  387,  388. 
Polybius,  15,  306. 

Ponet,  or  Poynet,  John,  li,  lix,  246,  247,  248, 
256. 

Pontano,  Giovanni  Gioviano,  114, 116,  122, 
341,  511. 

Pope,  Alexander,  xlvii.  111,  313,  461. 

Popelin,  Claudius,  330. 

Pope's  Letter,  The,  415. 

Popular  Music  of  the  Olden  Time,  141. 

Pordenone,  Marc  Antonio,  129. 

Porro,  Girolamo,  135. 

Porta,  Costanzo,  163, 

Porta,  Giovanni  Battista  della,  Ixiii,  207, 
209,  211,  218,  293,  304,  341,  511. 


548 


INDEX 


Porto,  Luigi  da,  18,  225. 
Pory,  John,  384. 

Posie  of  Gillofiowers,  A,  liii,  17,  39. 

Posies  of  George  Gascoigne  Esquire,  The,  25. 

Pothecary,  Thomas,  513. 

Potter,  Barnaby,  281. 

Potter,  Christopher,  281. 

Powell,  Thomas,  429,  435. 

Powerful  Favorite:  or  The  Life  of  Aelius  Se- 

janus.  The,  98. 
Praetica  in  arte  chirurgica  copiosa,  Ix,  301. 
Prannell,  Henry,  473. 
Prayers  and  Meditations,  xxxvii. 
Prayers  compiled  out  of  Davids  Psalmes, 

Most  Godly,  358. 
Preces  Sacrae  ex  Psalmis  Davidis  desumptae, 

258. 

Precetti  et  sententie  piu  notdbili  in  materia  di 
stato  di  M.  F.  Guicciardini,  I,  367. 

Predica  .  .  .  fatta  la  prima  Domenica  dell' 
Avvento,  Iviii,  274,  501. 

Prediche  (Ochino),  245,  246,  250. 

Premier  livre  des  proces  tragiques  contenant 
LV  histoires,  60. 

President  of  Grenoble,  14. 

Prester  John,  387. 

Preti,  Alfonso,  163. 

Preti,  Girolamo,  189,  190. 

Price,  Thomas,  269. 

Primaleon  of  Greece,  The  famous  and  re- 
nowned History  of,  63,  64. 

Prince,  The,  306,  417,  421,  422,  423,  425. 

Principal  Rules  of  the  Italian  Grammer,  345, 
346,  347,  390. 

Principall  Navigations,  Voyages  Traffiques 
and  Discoveries,  xlvi,  373,  374,  379,  380, 
381,  382,  396. 

Principe,  II,  405,  417,  421,  425. 

Printemps  d'Yver,  Le,  35. 

Problemes  of  Beautie  and  all  Humane  Affec- 
tions, 478. 

Problemi  delta  Bellezza  di  tutti  gli  effetti  hu- 

mani,  I,  478. 
Procter,  Thomas,  144,  226. 
Prolusiones  Academicae,  F.  Stradae  Romani, 

189,  514. 

Prolusiones  et  Paradigmata  eloquentiae,  188. 
Prometheus  Unbound,  494. 
Promos  and  Cassandra,  The  Rare  Historic  of, 
48,  200. 

Promos  and  Cassandra,  The  Right  Excellent 
and  Famous  Historye  of,  199,  200. 

Propositioni  overo  Consider ationi  in  materia 
di  cose  di  Stato,  362. 

Prosopopoeia,  A,  167. 

Prosopopoia:  or  Mother  Hubberds  Tale,  Ixxiv, 
138. 

Prospective  of  the  Naval  Triumph  of  the  Vene- 
tians over  the  Turk,  A,  193. 

Prospettiva  del  navale  trionfo  riportato  dalla 
Republica  Serenissma  contra  il  Turco,  192. 


Proverbs  or  old  Sayed  Saws  and  Adages  in 
English,  357. 

Proverbes,  Treasurie  of  Ancient  Adages  and 
Sententious,  366. 

Proverbi  Italiani,  Piazza  Universale  di,  367. 

Proverbi  Vulgari,  raccolti  in  diversi  luoghi 
d'  Italia,  489. 

Proverbs  and  Dialogues  in  Italian  and  Eng- 
lish, Choice,  367. 

Proverbs,  English,  French,  Dutch,  Italian  and 
Spanish,  367. 

Prudentius,  Aiirelius  Clemens,  Ixxii. 

Prutenical  Tables,  335,  336. 

Prynne,  William,  lii,  441. 

Psalmes,  The  Whole  Book  of,  253. 

Psalter  of  Jesus,  The,  380. 

Pseudolus,  209. 

Publications  of  the  Modern  Language  Associ- 
ation of  America,  451. 

Publications  of  the  University  of  Pennsyl- 
vania, 25. 

Pucci,  Francesco,  460. 

Puccini,  Vincenzo,  275. 

Pupienus  Maximus,  M.  Clodius,  393. 

Purchas  his  Pilgrimes,  Hakluytus  Posthu- 
mus  or,  372,  374,  381,  383,  384,  386,  387, 
388,  416,  417. 

Purchas,  Samuel,  386. 

Purgatorio,  II,  Iv. 

Pythagoras,  li. 

Pyus,  T.,  512. 

Q.,  T.  M.,  321. 

Quand'  io  miro  le  rose,  61. 
Quaritch's  Catalogue,  93,  348. 
Queen  Anna's  New  World  of  Words,  186, 
352. 

Queen:  or  The  Excellency  of  her  Sex,  The,  16, 

20,  42,  97,  232. 
Queene  of  Corsica,  The,  216. 
Queen's  Arcadia,  The,  205. 
Quellen  und  Forschungen,  226. 
Quesiti  et  Inventioni  Diversi,  li,  326. 
Quintessence  of  Wit,  The,  361,  367. 
Quintiani,  L.,  130. 

Quo  Vadisf  A  Just  Censure  of  Travell,  xliv. 

R.,  N.,  Gent,  367. 

R.,  S.,  Gent,  466. 

Rabelais,  Francois,  330. 

Raccolta  d'alcune  Rime  del  Cavaliere  Lodovico 

Petrucci,  500. 
Radcliffe,    Bridget   Morison,  Viscountess 

Fitzwa[l]ter,  and  Countess  of  Sussex,  57, 

58. 

Radcliffe,  Ralph,  96,  241. 

Ragguagli  di  Parnasso,  De  i,  416,  438,  439. 

Ragguagli  di  Parnasso:  or  Advertisements 

from  Parnassus,  I,  438,  439. 
Ragione  di  .  .  .  I'Arme  si  da  offesa  come  da 

difesa,  331. 


INDEX 


549 


Raimondo  delle  Vigne,  da  Capua,  270,  271. 

Rainolde  (Reynolds),  John,  514. 

Ralegh,  Sir  Walter,  xlii,  xlvi,  Ixix,  14,  166, 

375,  382,  511. 
Raleigh,  Sir  Walter,  445,  447. 
Ralph,  James,  206. 

Ramsay,  Lady  Elizabeth  Radcliffe,  Vis- 
countess Haddington,  237,  238. 

Ramsay,  Sir  John,  Viscount  Haddington 
and  Earl  of  Holderness,  237,  238. 

Ramus,  Pierre,  509. 

Ramusio,  Giovanni  Battista,  375,  376,  377, 

384,  387,  390. 
Randolph,  Thomas,  41. 
Ranke,  Leopold  von,  264,  283,  284. 
Rankin,  Archibald,  102. 
Rape  of  the  Lock,  The,  313. 
Raphael,  or  Rafael  or  Rafaello,  Sanzio  or 

Santi,  xxxix,  Ixvi,  Ixviii. 
Ravenscroft,  Edward,  56,  95,  209. 
Razzi,  Girolamo  (Silvano),  151, 
Reade,  Thomas,  327. 

Rebellion  in  Naples:  or  The  Tragedy  of  Mas- 

sinello.  The,  433,  434, 
Rebus  by  Queen  Elizabeth  on  the  name 

Noel,  126. 
Recueil  des  Histoires  de  Troyes,  Le,  224, 
Recuyell  of  the  Historyes  of  Troye,  224. 
ReditHs  ex  Anglia  consilium  exponit,  Sui, 

279. 

Refin'd  Courtier,  The,  465,  466. 

Reflections  upon  Ancient  and  Modern  Learn- 
ing, Ixxi. 

Regales  Disputationibus,  512. 

Reggimento  della  Peste,  II,  liii,  321. 

Regimen  Sanitatis  Salerni,  169. 

Regno  et  Regis  Institutione,  F.  Patritii  Sene- 
sis  de,  399. 

Rei  militaris  instituta,  314. 

Reid,  Herbert  J.,  460,  463. 

Reinbold,  Erasmus,  336. 

Relatione  .  .  .  di  Fiandra  e  di  Francia,  435. 

Relationi  Universali,  Le,  384,  386. 

Relations  of  the  Most  Famous  Kingdoms  and 
Commonweales,  385. 

Reliques  of  Ancient  English  Poetry,  175, 

Remarks  on  Spenser,  11. 

Remediis  Utriusque  Fortunae,  De,  467. 

Remedio  Amoris,  De,  124. 

Renatus,  Vegetius  Flavins,  314. 

Rendiconti  della  R.  Accademia  dei  Lincei, 
295. 

Report  of  Deputy  Keeper  of  the  Public  Records, 
346. 

Republica  Ecclesiastica,  De,  613. 
Rerum  Italicarum  Scriptores,  19. 
Respectfull  =  of  respect,  432, 
Restituta,  38,  60,  259. 

Retrospective  Review,  210,  211,  240,  349, 
466. 

Returne  from  Parnassus,  The,  101. 


Returns  of  Aliens  .  .  .  152S-1571,  274. 
Revelation  of  Saint  John,  The,  402. 
Revelation  of  the  Secret  Spirit,  A,  Ixiii,  338. 
Revelation,  The  Praeface  of  J.  Brocard  upon 

the,  403. 
Revels  Accounts,  15,  229, 
Reynolds,  Henry,  207. 
Rhodes,  Richard,  94. 
Ribadeneira,  F.,  272. 
Ribadeneira,  Pedro  de,  272. 
Ricci,  Matteo,  388. 
Rice,  William,  17. 

Rich,  Barnabe,  28,  44,  45,  46,  218,  225. 

Rich  Cabinet,  The,  464. 

Rich  his  Farewell  to  Militarie  Profession,  43, 

106,  218. 
Richard,  Andrew,  353, 
Richard  H,  425,  426. 
Richard  IIL  425,  426. 

Richelieu,  Armand  Jean  du  Plessis,  Cardinal 

and  Due  de,  286. 
Riddle,  40,  41, 

Ridley,  Nicholas,  247,  346,  499, 

Rigg,  James  Macmullen,  93, 

Rimbault,  E.  F.,  80,  142. 

Rime  (Ubaldini),  498. 

Rime  del  Marino,  185. 

Rime  di  Antonio  Galli,  600. 

Rime  di  diversi  celebri  poeti  dell'  etd  nostra, 
61,  165. 

Rinaldo  of  Este,  13. 

Ring  and  the  Book,  The,  388. 

Ritson,  Joseph,  37. 

Rivolutioni  di  Napoli,  Le,  433. 

Robert  the  Devil,  61. 

Robertson,  James  Alexander,  373. 

Robinson,  Clement,  226,  228. 

Robinson,  Mary  F.  (Mme.  Darmesteter) ,  69. 

Robinson,  Richard,  26,  398,  455. 

Rocke  of  Regard,  The,  16,  31,  32,  49,  144. 

Rockes  of  Christian  Shipwracke,  The,  374. 

Rodomonths  Infernall:  or  The  Divell  Con- 
quered, 168. 

Roe,  Sir  Thomas,  Ixxvii,  285. 

Rohan,  Anne  de,  70. 

Rohan,  Sieur  de.  Seigneur  de  Fontenay,  70. 
Roland,  398. 
Roland  Furieux,  169. 
Roman  de  Troie,  223. 
Roman  Pontiffs,  On  the,  347. 
Rome  Exactly  Described,  442. 
Rome,  A  New  Relation  of,  442. 
Romei,  Annibale,  Count,  155. 
Romeo  and  Juliet,  16,  24,  41,  42,  50,  101,  224, 
225,  233. 

Romeus  and  Juliet,  The  Tragicall  Historic  of, 

24,  60,  225. 
Romeus  and  Juliet,  The  Tragicall  Historye  of 

(Broke),  24,  41,  50,  224. 
Romulo,  II,  418. 

Romulus  and  Tarquin,  418,  419. 


550 


INDEX 


Roncesvalles,  398. 
Roper,  Margaret  More,  Ixxii. 
Rosamunda  or  Rosamond,  43,  71,  236,  405, 
406. 

Rosamund,  Queen  of  the  Lombards,  43,  71, 

236,  405,  406. 
Rose,  William  Stewart,  153. 
Rossetti,  Dante  Gabriel,  193,  236. 
Rossetti,  William  Michael,  236. 
Rossi,    Giovanni   Vittorio    (Nicius  Ery- 

thraeus),  435. 
Rotherham,  John,  76. 

Rover:  or  The  Banished  Cavaliers,  The,  93, 
94. 

Rovere,  Francesco  Maria  Feltrio  II,  della, 
214. 

Rovere,  Giuliano  della  (Julius  II). 
Rovezzano,  Benedetto  da,  Ixvi. 
Rowbothum,  James,  311,  312. 
Rowland,  David,  of  Anglesey,  349. 
Rowlett,  Margaret  Cooke  (Lady  Rowlett), 
249. 

Rowlett,  Sir  Ralph,  249. 
Rowley,  Samuel,  231. 
Rowley,  William,  103,  408. 
Roxana,  310. 

Roxburghe  Club,  14,  25,  112,  150,  197,  225, 
479. 

Roy,  S.  A.,  389,  390. 
Royal  and  Noble  Authors,  126. 
Royal  Exchange,  The,  363,  364. 
Roydon,  Matthew,  124. 
Roydon,  Owen,  226. 
Ruby  Ring,  The,  238. 
Rucellai,  Cosmo  di,  307,  417. 
Ruddiman,  Thomas,  181. 
Rudel  de  Blaye,  Geoffroi,  67. 
Rudolf  II,  or  Rudolph,  414. 
Rueda,  Lope  de,  45. 
Ruggle,  George,  208,  209. 
Ruines  of  Rome,  138,  139. 
Ruines  of  Time,  The,  Ixxiii,  137. 
Rule  a  Wife  and  Have  a  Wife,  96. 
Ruscelli,  Girolamo,  303,  468. 
Ruskin,  John,  Ixxvi. 

Russell,  Bridget  Hussey  Morison  Manners, 
Countess  of  Bedford,  373. 

Russell,  Edward,  3d  Earl  of  Bedford,  Ixxvi. 

Russell,  Elizabeth  Cooke  Hoby  (Lady  Rus- 
sell), Ixxii,  249. 

Russell,  Francis,  2d  Earl  of  Bedford,  Ixxii, 
Ixxviii,  258,  302. 

Russell,  Lord  John,  Ixxii,  249. 

Russell,  Lucy  Harington,  Countess  of  Bed- 
ford, Ixxvi,  Ixxvii,  Ixxviii,  65, 158, 350,  352. 

Rusticiano  da  Pisa,  26,  27,  387. 

Ryther,  Augustine,  403. 

S.,  J.,  51,  150. 
S.,  J.,  Gent,  213. 
S.,  N.,  91. 


S.,  N.,  (Rusticiano  da  Pisa?). 
S.,  R.,  (Robert  Smyth),  34. 
S.,  W.,  42. 

Sabino,  Hippolito,  163. 
Sacchetti,  Franco,  xlix,  92. 
Sacharissa,  Ixxiii,  431. 

Sack-Full  of  Newes.  Some  Lyes  and  some 

Truths,  The,  105,  106. 
Sackville,  Anne  Spencer  Stanley  Compton, 

Countess  of  Dorset,  Ixxiv,  138,  139. 
Sackville,  Richard,  2d  Earl  of  Dorset,  Ixxviii. 
Sackville,  Thomas,  1st  Earl  of  Dorset,  506. 
Sacred  Treasury,  The,  288. 
Sacrifice,  Le,  218. 
Sacrificio,  II,  218. 

Sacrificio  degli  Intronati,  Comedia  del,  218. 
Sacy,  Silvestre  de,  457. 
Sage,  John,  181. 

Saggi  Morali  del  Signore  Francesco  Bacono, 
501. 

Sagundino,  Nicolas,  314. 
St.  George,  492. 

St.  John,  John,  2d  Baron  of  Bletsho,  59. 
St.  Leger,  Sir  Warham,  476. 
St.  Paul  (oratorio),  192. 
St.  Paul's  Late  Progress  upon  Earth,  288,289. 
Saintsbury,  George,  69. 
Sala,  Angiolo,  337. 
Saliceto,  Gulielmus  de,  317. 
Salimbene  and  Angelica,  16. 
Salisbury,  Sir  John,  164. 
Salust  (Alonso  de  Salas  Barbadillo?),  350. 
Samber,  Robert,  445. 
Sambucus,  Jean,  471. 
San  Pedro,  D.  Hernandez  de,  238,  239. 
Sanderson,  William,  511. 
Sandford,  or  Sanford,  James,  27,  351,  402, 
403. 

Sannazaro,  Jacopo,  xli,  140. 

Sansovino,  Andrea  (Andrea  Contucci  da 

Monte  Sansovino),  270. 
Sansovino,  Francesco  (see  Tatti). 
Sapientia  Veterum,  De,  502. 
Sapienza  degli  Antichi,  Della,  501. 
Sappho,  Duke  of  Mantona,  44,  45. 
Saracen  Friends,  The,  153. 
Sarpi,  Biografia  di  Fra  Paolo,  277,  284,  295. 
Sarpi,  Pietro  (Fra  Paolo  Servita),  Iviii,  lix, 

Ixi,  Ixxxi,  263,  265,  266,  267,  276,  277,  278, 

281,  282,  285,  292,  293,  294,  295,  420,  508, 

513,  514. 

Sarracenicae  Historiae  libri  III,  C.  A.  Curi- 
onis,  398. 

Satan,  Les  Ruzes  de,  291. 

Satanae  Strategemata,  290,  291. 

Satan's  Stratagems:  or  The  Devil's  Cabinet- 
Council,  290. 

Saturnaliorum  Conviviorum  Libri  VII,  115. 

Saunders,  Nicholas,  of  Ewell,  351,  497. 

Savelli,  The  Penitent  Bandito,  or  The  Historie 
of .  .  .  Signior  Troilo,  278. 


INDEX 


551 


Savelli,  A  Relation  of  the  Death  of .  .  .  Sio^. 

Troilo,  278. 
Saviolo,  Vincentio,  Ixiv. 
Savonarola,  Girolamo,  482. 
Scacchia  Ludus,  312,  313. 
Scachi,  Questo  libro  e  da  imparare  giocare  a, 

312. 

Scala  Politica  delV  Abominatione  e  Tirannia 

Papale  di  Benvenuto,  355,  500. 
Scaliger,  Jules  Cfisar,  354. 
Scanderbeg  (see  George  Castriota). 
Scarlet  Gown,  The,  436,  437. 
Scelta  di  alcune  attioni,  498. 
Schelling,  Felix  E.,  25,  58, 174,  205,  213,  219. 
Schofield,  W.  H.,  56. 
Schola  Salernitana,  169. 
Scholemaster,  The,  xxxvii,  xlii,  xliv,  Ivii,  448. 
Schoolemaster,  The,  115,  127. 
Scilla  and  Minos,  30. 

Scipio  (Publius  Cornelius  Scipio  Africanus 

Major),  401,  402. 
Scipio  and  Hannibal,  113. 
Scogan's  Jests,  3. 

Scogli  del  Christiana  Naufragio,  274. 
Scornful  Lady,  The,  465. 
Scott,  Andrew  Pinley,  375. 
Scott  book-plate,  214, 
Scourge  of  Villanie,  The,  447. 
Scrymgeour,  or  Scrimger,  Henry,  254. 
Scyros,  214,  219. 
Sea  Voyage,  The,  136. 

Seaven  Trumpets  of  Brother  B.  Saluthius, 
,    etc..  The,  284. 

Second  Book  of  Songs  or  Airs  (J.  Dowland), 

145,  158,  182. 
Second  Maydens  Tragedy,  The,  216. 
Secretaria  di  Apollo,  439. 
Secretes,  A  Compendium  of  the  Rationall,  etc., 

322. 

Secreti  del  reverendo  donno  A.  P.,  Del,  303. 
Secreti  Rationali,  Del  Compendia  dei,  322. 
Secrets,  A  Booke  of,  Mii,  333. 
Secrets  de  Reverend  Signeur  Alexis  Piemou' 

tois,  Les,  303. 
Seditions  and  Troubles,  Of,  501. 
Segreti  nuovi,  303. 
Sejanus,  his  Fall,  99. 

Sejanus  Histoire  Romaine,  Aelius,  98, 99, 287. 
Sendebar  Indiana  filosopho  morale,  Trattati 

diversi  di,  457,  458. 
Seneca,  Lucius  Annaeus,  1,  198,  354,  435, 

467. 

Seneca  his  Tenne  Tragedies,  398. 

Sentence  of  the   High   Councell  of  Tenne 

Judges,  A  true  copie  of  the,  265. 
Septem  Psalmi  Poenitentiales,  xli,  179. 
Serafino,  Cimino,  Aquilano,  116,  117,  119, 

120,  121,  123,  147. 
Serlio,  Sebastiano,  337. 
Sermon  preached  .  .  .  Anno  1617,  374,  501. 
Sermons,  Fouretene,  251. 


Sermons  of  Faithe,  Hope,  and  Charitie,  Cer- 
tain  Godly  and  very  profitable,  261. 

Sermons  of .  .  .  Master  B.  Ochine,  Certayne, 
246,  249,  251. 

Sermons  of .  .  .  Master  Bernardine  Ochine, 
246,  249. 

Sermons,  translated  out  of  Italian  into  Eng- 
lishe,  Five,  245,  296. 

Sestina,  66. 

Setebos,  373. 

Sette  Trombe,  Delle,  284. 

Settle,  Elkanah,  213. 

Seven  English  Poeticall  Miscellanies,  166. 

Seven  Great  Statesmen,  267. 

Seven  Sobs  of  a  Sorrow  full  Soulefor  Sinne,  liv. 

Seven  Wise  Masters,  97. 

Seven  Wise  Men  of  Gotham,  3. 

Seventeenth-Century  Studies,  62. 

Seventh  Novel  of  the  Seventh  Day  in  the  Decam' 
eron,  The  Source  and  History  of,  56,  106. 

Severus,  Lucius  Septimius,  393. 

Seymour,  Anne  Stanhope,  Duchess  of  Som- 
erset, 297. 

Seymour,  Edward,  16th  Duke  of  Somerset, 

246,  247,  248,  252,  253. 
Seymour,  William,  Ist  Marquis  of  Hertford, 

455. 

Sforza,  Lodovico,  448. 
Shairp,  John  Campbell,  Ixxvi. 
Shakespeare,  A  New  Variorum  Edition  of, 

336,  351,  451. 
Shakespeare  and  His  Times,  xlvii,  22,  114. 
Shakespeare,  Clarendon,  337. 
Shakespeare,  The  English  Novel  in  the  Time 

of,  9,  79. 
Shakespeare,  Essays  on,  411,  412. 
Shakespeare  Gesellschaft,  Jahrbuch  der  deut' 

schen,  211,  217,  218.  219. 
Shakespeare  Jest-Books,  4. 
Shakespeare,  The  Poems  of,  450. 
Shakespeare  Society,  13,  44,  56,  229. 
Shakespeare  Society  Publications,  84. 
Shakespeare,  The  Supposed  Travels  of,  411. 
Shakespeare's  Ldbrary,  45, 48,  74,  84,  97,  200, 

224. 

Shakespeare's  Predecessors,  198. 
Shakespere,  Pictorial,  141. 
Shakspere,  Chandos  portrait  of,  Ixxv. 
Shakspere,  William,  xli,  xlii,  xliv,  xlvi,  xlvii, 
lii,  liv,  Iv,  Ixiv,  Ixv,  Ixxv,  Ixxx,  3,  10,  12, 
13,  16,  21,  36,  42,  45,  48,  53,  58,  59,  74,  82, 
83,  84,  90,  94,  96,  103,  114,  136,  141,  148, 
164,  165,  197,  198,  199,  200,  218,  2-23,  224, 
229,  238,  337,  351,  373,  382,  410,  411,  412, 
423,  432,  445,  446,  447,  450,  451,  465. 
Shakspere,  Lectures  and  Notes  on,  447. 
Shakspere,  Notes  on. 
Fausti  precor,  114. 
Sophy,  408. 
Thrasonical,  36. 
Tranect,  411. 


552 


INDEX 


Shakspere  Society,  The  New,  164,  224. 

Shakspere  Society  Transactions,  New,  382. 
Shakspere' s  Sonnets,  450,  465. 
Sharpham,  Edward,  94,  95. 
Sheffield,  Douglas  Howard,  267. 
Sheffield,  Edmund,  1st  Earl  of  Mulgrave, 
267. 

Sheffield,  Ursula  Tyrwhitt,  267. 

Shelley,  Percy  Bysshe,  Ivi,  494. 

Shelton,  Thomas,  53,  76. 

Shepheard  Tonie,  64. 

Shepheardes  Calender,  The,  115,  133. 

Sherborne,  Sir  Edward,  213. 

Shillocke  his  Prophesie,  Calebbe,  337. 

Shilock,  Caleb,  336,  337. 

Shirley,  James,  14,  42,  51,  71,  95,  213,  231. 

Shirley  brothers  (Sir  Thomas,  Sir  Anthony, 

Robert),  408. 
Shoberl,  F.,  233. 

Shorte  and  brief  e  Narration  of  the  TwoNaviga- 
tions,  A,  376. 

Shute,  John,  394. 

Sicelides,  136. 

Sidnam,  J.,  205,  213. 

Sidney,  Sir  Henry,  xlvii,  476. 

Sidney,  Lady  Mary,  Ixxii,  18. 

Sidney,  Memoir  of  Sir  Philip,  323. 

Sidney,  A  Pastor  all  Aeglogue  upon  the  Death 
of  Sir  Philip,  478. 

Sidney,  Sir  Philip,  xliv,  xlviii,  li,  lix,  Ix,  Ixiii, 
Ixviii,  Ixix,  Ixxii,  Ixxiii,  Ixxiv,  74,  75,  124, 
132,  134,  137,  159,  166,  182,  216,  323,  328, 
377,  470,  476,  478,  479,  490,  491,  494,  508, 
509,  510. 

Sidney.  Type  of  English  Chivalry  in  the  Eliza- 
bethan Age,  Sir  Philip,  490. 

Sidney,  Veronese's  portrait  of  Sir  Philip, 
Ixviii. 

Sidney,  Sir  Robert,  Ixxii,  177,  323,  496. 

Siege  of  Antwerp,  The,  439. 

Siege,  or  Love's  Convert,  The,  96. 

Sieper,  Ernst,  35. 

Sigillus  Sigillorum,  509, 

Sigismonda  and  Guiscardo,  151. 

Silesio,  Mariano,  Florentine,  105. 

Silva  de  Varia  Leccion,  22,  23,  24,  62. 

Silva,  Don  Joao  da,  412. 

Silva,  Don  Michele  de,  445. 

Silvia's  Park,  190. 

Silvius  Italicus,  78. 

Simler,  Josias,  258,  261,  262. 

Simpson,  Percy,  201. 

Sinclair,  Henry,  Earl  of  the  Orkneys  and 

Caithness,  379. 
"  Sing  unto  the  Lord"  (anthem),  231. 
Singer,  Samuel  Weller,  4,  157. 
Sisto  da  Venetia,  413. 
Six  Old  Plays,  200. 
Sixtus  V  (Felice  Peretti),  262. 
Skelton,  John,  87. 

Skeptics  of  the  Italian  Renaissance,  The,  494. 


Skialetheia:  or  A  Shadow  of  Truth,  xliv,  447. 

Smectymnuus,  304. 

Smith,  G.  C.  Moore,  216,  217,  218. 

Smith,  John,  liii,  352. 

Smith,  T.,  275. 

Smith,  Th.,  476. 

Smith,  Timothy,  339. 

Smyth,  Edward,  166. 

Smyth,  Nicholas,  393. 

Smyth,  Robert,  34. 

Smythe,  Dorothy  Sidney  Spencer,  Countess 
of  Sunderland,  Ixxii,  Ixxiii,  431. 

Smythe,  Sir  Robert,  431,  432. 

Soame,  Stephen,  363. 

SocietS  des  Bibliophiles  Frangais,  69. 

Society  of  English  Bibliophilists,  69. 

Society  for  Promoting  Christian  Knowledge, 
250. 

Socrates,  81. 

Sofonisba,  La  (Cannetto),  178. 
Sofonisba,  La  (Trissino),  15,  178. 
Soldier's  Fortune,  The,  85,  94. 
Soliman  and  Perseda,  35. 
Solitary  Shepherd's  Song,  The,  66. 
Solitude,  The,  190. 
Solon,  li. 
Solon,  12. 
Solyman,  17. 

Solyman  I,  "The  Magnificent,"  408. 
Solyman  and  Perseda,  The  Tragedy  of,  35. 
Somers  Tracts,  425. 

Sonetti  e  Canzoni  in  Morte  di  Madonna 

Laura,  129,  138. 
Sonetti  e  Canzoni  in  Vita  di  Madonna  Laura, 

50. 

Songes  and  Sonettes  (Svirrey),  xlviii. 
Songs  of  Divers  Airs  and  Natures,  133. 
Sophonisba,  15,  178. 

Sophonisba:  or  Hannibal's  Overthrow,  15, 
178. 

Sophonisba,  The  Tragicall  Death  of,  177,  178. 

Sophonisbe,  La,  15. 

Sophy,  408. 

Soranzo,  Lazaro,  385. 

Sospetto  d' Her  ode,  188. 

Southwell,  Robert,  119. 

Sp.  dalla  Best.  Triom :  or  The  Expulsion  of 

the  Triumphant  Beast,  491. 
Spaccio  de  la  Bestia  Trionfante,  491, 492, 494, 

495. 

Spagnuoli,  Giovanni  Battista  (see  Man- 
tuan) . 

Spanish  Fleete  invading  Englande,  A  Dis- 

course  concerning  the,  403. 
Spanish  Tragedy,  The,  35. 
Sparks,  Jared,  417. 
Spectator,  The,  340,  428. 
Spedding,  James,  250. 
Spencer,  Henry,  1st  Earl  of  Sunderland, 

431. 

Spencer,  Sir  John,  Ixxiv,  139. 


INDEX 


553 


Spenser,  Edmund,  xxxvii,  xlii,  xlvii,  Ivi,  Ix, 
Ixxiii,  Ixxiv,  Ixxv,  Ixxviii,  11,  115, 124,  133, 
137,  138,  139,  150,  158,  166,  180,  186,  229, 
409,  410,  450,  472,  476,  477,  478,  509. 

Spenser,  The  Complete  Works  in  Verse  and 
Prose  of  Edmund,  137. 

Spenser,  Monument  of  Edmund  Spenser, 
Ixxviii. 

Spenser  Society,  116,  124. 

Spera,  ou  le  Desespoir,  FranQois,  255. 

Spiegazione  di  Trenta  Sigilli,  495. 

Spiera,  or  Spera,  Francesco,  254,  255. 

Spierae  .  .  .  historia,  Francisci,  254. 

Spingarn,  J.  E.,  461. 

Spinoza,  Baruch,  or  Benedict,  de,  492. 

Spira,  A  Relation  of  the  Fearefull  Estate  of 
Francis,  254,  255. 

Spiritata,  La,  215. 

Spirito,  Lo,  216. 

Stabili,  Annibal,  163. 

Stafford,  John,  39. 

Stampa,  Gaspara,  181. 

Stanhope,  Philip  Dormer,  4th  Earl  of  Ches- 
terfield, 462. 

Stanier,  James,  353. 

Stanley,  Arthur  Penrhyn,  Ixxvi. 

Stanley,  Edward  John,  2d  Baron  Stanley  of 
Alder  ley,  389. 

Stanley,  Thomas,  68,  189,  190,  191. 

Stanley :  His  Original  Lyrics  Complete, 
Thomas,  191. 

Stanyhurst,  Richard,  226. 

Stapleton,  Alfred,  100. 

Stapleton,  or  Stapylton,  Sir  Robert,  418, 434. 

Stationers'  Register,  7,  10,  22,  28,  51,  59,  65, 
66,  91,  92,  203,  207,  241,  254,  424. 

Statins,  Publius  Papinius,  78. 

Stato  delle  Tre  Corte,  Lo,  497. 

Staunton,  Howard,  336. 

Steele,  Sir  Richard,  Ixxviii. 

Stella,  Giulio  Cesare,  510. 

Steps  to  the  Temple,  188,  514. 

Sterne,  Lawrence,  327. 

Sternhold,  Thomas,  231,  253,  318. 

Stewart  or  Stuart,  Charles,  5th  Earl  of  Len- 
nox, Ixviii. 

Stoa  Triumphans,  429,  434. 

Stone,  Sir  William,  86. 

Stories  from  the  Italian  Poets,  153. 

Stoughton,  J.,  460. 

Stow,  John,  xxxix,  Ixxx,  248. 

Strada,  Famiano,  188,  189,  434,  439,  514. 

Strage  degli  Innocenti,  188. 

Strange  and  Wonderful  Prognostication,  A, 
33S. 

Strange  Fortunes  of  Two  Excellent  Princes, 
The,  79. 

Strange  Lady  (see  Alice  Spencer  Stanley 
Egerton). 

Straparola,  Giovanni  Francesco,  da  Cara- 
vaggio,  xli,  6,  12,  14,  37,  57,  70,  106,  237. 


Stratagems  Laid  Open,  etc.  Darkness  Dis- 
covered: or  The  Devil's  Secret,  290. 

Straunge,  Lamentable  and  Tragicall  Histories, 
Foure,  34. 

Strife  of  Love  in  a  Dream,  The,  329,  331. 

Striggio,  Alessandro,  163. 

Strozzi,  Ercole,  116,  117,  118,  121. 

Strozzi,  Lorenzo  Filippo,  306. 

Strype,  John,  Ivii,  247,  346,  400. 

Stuart,  Lady  Arabella,  Ixviii,  173,  500. 

Stuart,  James,  Duke  of  Richmond  and  Len- 
nox, 103,  417,  421. 

Stubbs  or  Stubbes,  Philip,  lii. 

Studien  zur  Geschichte  der  Italienischen  No- 
velle,  56,  226. 

Studies  and  Notes  in  Philology  and  Literature, 
56. 

Style,  Sir  Humphrey,  462. 

Style,  or  Styles,  William,  462, 

Sudrez,  Francisco,  513. 

Suckling,  Sir  John,  418. 

Suckling,  The  Poems,  Plays  and  Other  Re- 

mains  of  Sir  John,  420. 
Sultan  Solyman,  17. 
Supposes,  24,  25,  197. 
Suppositi,  Gli,  197. 
Survey  of  Cornwall,  The,  140. 
Survey  of  the  World,  A,  192. 
Sutton  Place,  Ixvi. 
Sweet  Content,  241,  242. 
Swetnam  the   Woman-hater   Arraigned  by 

Women,  10, 
Swift,  Jonathan,  439, 

Swinburne,  Algernon  Charles,  71,  236,  406. 
Swinhoe,  Gilbert,  13,  42,  68. 
Sylva  Sylvarum :  or  A  Natural  History,  Ixiii. 
Sylvain,  Le  (see  Alexandre  Van  den  Busche). 
Sylvester,  The  Complete  Works  of  Joshua,  185. 
Sylvester,  Joshua,  185. 
Symonds,  John  Addington,  198. 
Synorix  and  Comma,  1,  30. 

T.,  W.,  413,  414. 

Tables,  Most  Briefe,  etc.,  319. 

Tabulae  secundorum  mobilium  coelestium,  335. 

Tacitus,  Cornelius,  15,  77,  496. 

Talbot,  Elizabeth  Hardwick  Barlow  Caven- 
dish St.  Loe,  "Bess  of  Hardwick,"  Ixvii, 
Ixviii,  lxx\4ii. 

Talbot,  Gilbert,  7th  Earl  of  Shrewsbury, 
128. 

Talbot,  George,  6th  Earl  of  Shrewsbury, 
Ixvii. 

Tales  and  Quicke  Answeres,  4. 
Tales  of  the  Hall,  278. 
Tallis,  Thomas,  130. 

Tamburlaine  (Timur-Leng,  i.e.,  Timxir  the 

Lame),  423. 
Tamburlaine  the  Great,  23,  54. 
Tamerlanis,     Scytharum    imperatoris  vita 

Magni,  23. 


554 


Taming  of  the  Shrew,  The,  83,  84,  197. 
Tamworth,  John,  345. 
Tancred  and  Gismunda,  13,  94,  151. 
Tancred  and  Sigismunda,  13,  95,  151. 
Tancredi,  II  (Asinari),  151. 
Tancredi,  II  (Campeggi),  151. 
Tancredi,  II  (Torelli),  151. 
Tancredo,  13,  94,  151,  152. 
Tanner,  Thomas,  41,  347,  504. 
Tansillo,  Luigi,  494, 
Tapsfield,  Henry,  145. 
Tarleton's  Tragical  Treatises,  36. 
Tarlton,  Richard,  36,  55,  56. 
Tarlton's  Jests,  238. 

Tarltons  Newes  out  of  Purgatorie,  54,  56. 
Tarquinio  Superbo,  II,  418. 
Tartaglia,  Niccold,  li,  Ixiii,  Ixiv,  324,  325, 
326. 

Tasso,  Bernardo,  478. 

Tasso  Solymeidos,  Torquato,  510. 

Tasso,  Torquato,  xlii,  xliii,  li,  Iv,  61,  99,  124, 
123,  136,  137,  140,  151,  157,  158,  163,  165, 
184,  187,  189,  191,  204,  207,  215,  327,  328, 
350,  354,  478,  496,  509. 

Tatler,  The,  Ixxviii. 

Tatti,  Francesco  (Sansovino),  22,  23,  63, 

181,  362,  367. 
Tavole  Brevissime,  etc.,  319. 
Taylor,  Jeremy,  Ixxv. 

Taylor,  John,  the  Water  Poet,  89,  101,  102, 
447. 

Teares  of  the  Muses,  The,  Ixxiv,  138. 
Teares  on  the  Death  of  Moeliades,  181. 
Tebro  Festante,  184. 
Tempest,  The,  10,  136,  373. 
Temple,  G.,  509. 

Temple,  Sir  William,  Ixxvii,  340,  431. 
Temporal,  Jean,  375. 

Tennyson,  Alfred,  xlvii,  1,  30,  31,  95,  96,  183, 
278. 

Tennyson.  A  Memoir,  Alfred  Lord,  31. 
Terence  (Publius  Terentius  Afer),  1,  215. 
Tereus  and  Progne,  30,  31. 
Terry,  Ellen,  31. 

Tesauro,  Emmanuele,  Count,  515. 
Textor,  or  Tixier,  Jean,  211. 
Thackeray,  William  Makepeace,  106. 
Theatre  of  Gods  Judgements,  The,  16,  73. 
Theatre  wherein  he  Represented,  etc.,  A,  138. 
Thebais,  398. 
Themistocles,  354. 
Theobald,  Lewis,  411. 
Theocritus,  140. 

Thirteen  Italian  Letter-writers,  39. 

Theodore  and  Honoria,  230,  232. 

Theodore  enamoured    of  Maister  Emeries 

daughter,  37. 
Theoriques  of  the  Seven  Planets,  The,  Ixiii,  335. 
Theseos  defensio  contra   reprehenaiones  T. 

Pyi,  512. 
Theseus,  Life  of,  113. 


Thirteene  most  pleasaunt  and  delectable  ques- 
tions, 17. 

Thomas,  William,  345,  346,  347,  355,  389, 

390,  485,  486. 
Thomas,  The  Works  of  William,  486. 
Thomason,  George,  290. 
Thoms,  W.  J.,  91. 

Thomson,  James,  13,  15,  95,  151,  178. 

Thopas,  Sir,  363. 

Three  exact  Pieces  of  Leonard  Phiovrant,  322. 

Three  Hundred  Tales,  92. 

Thynne,  Sir  John,  Ixvii. 

Thynne,  Thomas  Henry,  5th  Marquis  of 

Bath,  Ixix. 
TibuUus,  Albius,  78. 
Ticknor,  George,  349. 
Tilney,  Edmund,  21. 

Timber  or  Discoveries  made  upon  Men  and 

Matter,  447. 
Timoclea  at  the  Siege  of  Thebes,  15. 
Timoclia  of  Thebes,  15. 
Timon,  13. 
Timon  of  Athens,  13. 
Timoteo  da  Bagno,  272. 
Tincker  of  Turvey,  The,  55. 
Tiraboschi,  Girolamo,  187. 
Titi  et  Gisippi  Amicitia,  De,  96,  227. 
Titi  Romani  et  Hegesippi  Atheniensis  His- 

toria,  227. 

Titus  and  Gisippus,  50,  58,  96,  121,  226, 
227. 

Titus  and  Gisippus,  The  most  wonderful  and 

pleasant  History  of,  58,  336. 
Tofte,  Robert,  145,  146,  147,  148,  149,  152, 

153,  157,  170,  180,  181,  206. 
Tolommei,  Claudio,  39,  245. 
Tomkins,  Thomas,  161. 
Tomkis  or  Tomkys,  Thomas,  206,  207. 
Torelli,  Pomponio,  151. 
Torquemada,  Juan  de,  113. 
Torregiano,  Pietro,  Ixvi. 
Torriano,  Giovanni,  353,  354,  356,  366,  367, 

442. 

TorrismondOr  350". 
Torsellino,  Orazio,  269,  287. 
Toto,  Antonio,  Ixvi. 
Toto  del  Nunziata,  Ixvi. 
Tottels  Miscellany,  xlviii,  119,  168. 
Tourneur,  Cyril,  42,  95. 
Tractate  of  Education,  503. 
Tractatio  de  Polygamia  et  Divortiis,  296. 
Tractatio  de  Sacramento  Eucharistiae,  505. 
Tractatus  de  Globis  et  eorum  Usu,  341,  511» 
512. 

Tragedy  by  Bernardino  Ochino,  The,  246. 
Tragicall  Tales  Translated  by  Turbervile,  18, 

38,  71,  230,  232,  334,  406. 
Tragoedie  or  Dialogue  of .  .  .  Master  Bernar- 

dine  Ochine,  A,  346,  247. 
Traheron,  Bartholomew,  301. 
Traherou,  W.,  414. 


INDEX 


555 


Tranect,  411. 
Trappolaria,  La,  209. 
Trappolin  Suppos'd  a  Prince,  214. 
Trappolino  Creduto  Principe,  214. 
Trattato  sulle  Tribulazioni,  273. 
Travel,  Of,  xliii. 

Travellers  Breviat,  The,  384,  386. 
Travels  of  the  Three  English  Brothers,  The, 
101,  408. 

Travels  to  Tana  and  Persia,  347,  389. 
Treasure  of  Vowed  Chastity,  The,  279. 
Treasurie  of  Auncient  and  Moderns  Times, 

The,  23,  24,  63,  225. 
Treatise  concerning  the  Causes  of  the  Magni- 

ficencie  and  Greatness  of  Cities,  A,  415. 
Treatise  declaring  howe  many  Councells,  A 

very  brief  and  profitable,  395. 
Treatise  of  Globes  both  Coelestiall  and  Terres- 

triall,  A  Learned,  341,  512. 
Treatise  of  X ability.  A,  481. 
Treatise  of  Temperance  and  Sobrietie,  A,  339. 
Treatise  of  Tribulation,  A,  263,  273. 
Trecento  Novelle,  92. 

Tredici  Notti  Piacevoli,  Le,  14,  37,  57,  70, 
237. 

Treviso  (Trevisano),  Girolamoda  (Girolamo 

di  Pier  Maria  Pennachi),  xxxix,  Ixvi. 
Tridentini  de  Methodo,  397. 
Trigaut,  Nicolas,  3SS. 
Trionfi,  xli,  15,  113,  178,  188. 
Trionfo  di  Dori,  II,  162,  163. 
Trissino,  Giovan  Giorgio,  1,  15,  178. 
Tristibus,  De,  238. 

Tristram  Sha7idy,  The  Life  and  Opinions  of, 
327. 

Triulsci,  Cesare,  52. 

Triumph  of  Death,  14,  43,  103,  234. 

Triumph  of  Honour,  or  Diana,  15,  18,  96. 

Triumph  of  Love,  or  Cupid,  37,  95. 

Triumphs  of  Love,  Chastity,  Death,  Trans- 
lated out  of  Petrarch,  The,  113,  187. 

Troilus  and  Cressida  (Shakspere),  223. 

Troylles  and  creseda,  the  Boocke  called  the 
tragedie  of,  224. 

Troylus  and  Cryseyde  (Chaucer),  117,  183, 
223. 

Truth  of  our  Time,  279. 

Truth  of  our  Times  Revealed,  447. 

Tryumphes  of  Fraunces  Petrarcke,  The,  113, 

113,  402. 
Tudor  Italtanization,  xl,  xliv. 
Tudor  Library,  329. 
Tudor  and  Stuart  Library,  135. 
Tudor  Translations,  19,  53,  93,  306,  404,  405, 

421,  445. 

Turberville  (Turbervile) ,  George,  xlvii,  18, 
19,  24,  38,  71,  113,  133,  180,  225,  229,  230, 
234,  320,  406. 

Turberv'ille,  Nicholas,  234. 

Turchi,  Libra  d'  A.  C.  .  .  .  della  Origine  de, 
394. 


Turcks,  Two  very  notable  Commentaries,  the 

one  of  the  Originall  of  the,  394. 
Turkish  Mahomet  and  Hiren  the  Fair  Greek, 

The,  13,  42,  68. 
Turle,  James,  155. 
Turnbull,  W.  B.,  D.D.,  182. 
Twelfth  Night,  or  What  You  Will,  42,  45,  141, 

176,  218,  382,  408. 
Twickenham  Garden,  Ixxvii. 
Two  Ladies  of  Venice,  16. 
Two  Maids  of  Moreclaeke,  The  History  of  the, 

238. 

Two  Merry  Milkmaids:  or  The  Best  Words 

Wear  the  Garland,  The,  15,  96. 
Two  Tales  Translated  out  of  Ariosto,  149. 
TwTne,  Thomas,  115,  116,  127,  467. 
Tye,  Christopher,  229,  230,  231,  235. 
Typographical  Antiquities,  258,  413. 
Tytus  and  Gesyppus,  Ye  hystory  of,  227. 
Two  Brethren  and  their  Wives,  44. 
Two  Gentlemen  of  Verona,  The,  45,  74. 

Ubaldini,  Petruccio,  403,  488,  496,  497,  498, 

499,  500,  513. 
Uberti,  Fazio  [Bonifazio]  degli,  192. 
Udall,  or  Uvedale,  Nicholas,  248. 
UUoa,  Alfonso  de,  395. 
Underdown,  Thomas,  xlvi,  404. 
Unhappy  Fair  Irene,  The,  13,  42,  68. 
Unhappy  Prosperitie,  99,  287. 
Unico  Aretino,  L'  (see  Bernardo  Accolti). 
Unione  Angliae  et  Scotiae,  Discursus  de,  512. 
Unione  del  Regno  di  Portogallo  alia  corona  di 

Castiglia,  Dell',  412. 
University  Drama  in  the  Tudor  Age,  210,  211, 

217,  219. 
Unton,  Henry,  489. 

Valdfiz,  Juan  de,  287,  288. 

Valentinian,  Ivi. 

Valesco,  Signior,  336. 

Valiant  Welshman,  The,  238. 

Valitudine,  De   litteratorum   et   eorum  qui 

magistratibus,  etc.  ...  318. 
Valtellina,  Iviii,  285,  286,  487. 
Van  den  Busche,  Alexandre  (Le  Sylvain),  58, 

59,  60,  65. 
Vandermer,  Tarquatus,  333. 
Vandermers  Searen  Yeares  Studie  in  the  Arte 

of  Magicke,  T.,  333. 
Van  der  Noodt,  Jean,  138. 
Vandyke,  or  Van  Dyck,  Sir  Anthony,  Ixviii, 

Ixx. 

Van  Houe,  F.  H.,  466. 

Vanini,  Giulio  Cesare,  lix. 

Vanitad  del  Mundo,  Libra  de  la,  262. 

Vanities,  The  View  of  Worldly,  260. 

Varchi,  Benedetto,  180,  181,  419. 

Varia  .  .  .  Poemata,  505. 

Varii  Componimenti,  7. 

Varii  Historiae  Romanae  scriptores,  393. 


556 


INDEX 


Varthema,  or  Vartomanus,  or  Barthema, 

Lodovico,  374. 
Varthema  Bolognese  nello  Egypto,  etc.,  Itine- 

rario  de  Ludovico,  374. 
Vartomani  Novum  itinerarium  Aethiopiae, 

Lud.,  374. 
Vasari,  Giorgio,  Ixvi. 
Vaughan,  John,  1st  Earl  of  Carbery,  416. 
Vaughan,  Henry,  '  Siliirist,'  429,  435. 
Vaughan,  Robert,  385. 
Vaughan,  Sir  William,  416,  439. 
Vautor,  Thomas,  133. 
Vautrollier,  Thomas,  489,  490,  491,  494. 
Vecchi,  Orazio,  xlix,  130,  163. 
Vega,  Garcilaso  de  la,  350. 
Vega,  Lope  de,  16,  189. 
Vegio,  Maffeo,  113. 

Venetian  Commonwealth,  Divers  Observa- 
tions upon  the,  410,  412. 

Venetorum,  De  Magistratibus  et  Republica, 
409. 

Venice,  The  Commonwealth  and  Government 
of,  408. 

Venice  Looking-Glass,  A,  xxxix,  Ixxiii,  431. 

Venturi,  Stefano,  130. 

Venuti,  354,  355. 

Venus  and  Adonis,  xlii. 

Verdonck,  Cornelius,  129. 

Vere,  Anne  Cecil  de,  Countess  of  Oxford,  459. 

Vere,  Edward  de,  17th  Earl  of  Oxford,  xliii, 

Ixii,  52,  116,  301,  458. 
Vere,  Henry  de,  18th  Earl  of  Oxford,  63. 
Vere,  Sir  Horace,  Baron  Vere  of  Tilbury, 

414. 

Vergerio,  Pietro  Paolo,  254,  287. 

Vergil  (Publius  Vergilius  Maro),  xlii,  114, 

121,  140,  181,  350. 
Verginella,  La,  128,  129,  130. 
Vermigli,  Pietro  Martire,  lix,  245,  248,  252, 

253,  255,  256,  257,  258,  261,  262,  268,  269, 

505. 

Vernon,  Henry,  of  Stoke,  34. 

Vernon,  John,  of  Sudbury,  34. 

Veronese,  Paul  (Paolo  Cagliari),  Ixviii. 

Verrazano,  Giovanni  da,  380. 

Verrazano  of  the  Land  Discovered  by  him. 

Relation  of  J.,  380. 
Vertomannus,  The  Travels  of  Lewes,  374. 
Vesalius,  Andreas,  294. 
Vessaline,  Jacob,  xxxix. 
Viaggi  fatti  da  Vinetia  alia  Tanj  in  Persia, 

in  India,  et  in  Constantinopoli,  390. 
Viaggo  fatto  dagli  Spagniuoli  intorno  at 

Hondo,  II,  372. 
Victoria,  94,  202,  316. 
Vida,  Marco  Girolamo,  312,  313. 
Vidal,  Pierre,  39. 

Vies  de  Hannibal  et  Scipion  UAfricain,  Les, 
401. 

Vies  des  Hommes  illustres  Grecs  et  Remains, 
Les,  402. 


Vies  des  plus  celebres  et  anciens  poetes  Pro- 

vencaux,  Les,  235. 
Vigo,  Giovanni  da,  Ix,  301. 
Vigo,  The  whole  worke  of  that  famous  chirur- 

gion,  Maister  John,  301. 
Vigon,  The  most  excellent  workes  of  chirugerye 

.  .  .  by  Maister  John,  301. 
Vilain  et  sa  Femme,  Le,  80. 
Villa  Gherardi,  72. 
Villegas,  Alfonso  de,  271,  272. 
Villennie  of  an  Abbot,  The,  19. 
Villiers,  George,  1st  Duke  of  Buckingham. 

98. 

Villiers,  Katherine  Manners  (see  Macdon- 

nell). 
Villon  Society,  43. 

Vinci,  Leonardo  or  Lionardo  da,  326. 
Vinegia,  La  Republica  e  i  Magistrati  di,  409. 
Violenta  and  Didaco,  41,  103,  234. 
Violenta,  or  The  Rewards  of  Virtue,  94. 
Virgidemiarum  Sixe  Bookes,  17,  149,  150, 
447. 

Virgilianus  de  Vita  Monarchorum,  Cento, 
505. 

Virgils  Aeglogs,  350. 

Virgils  Aeneis,  Translated  into  English  Heroir 

call  Verse,  The  first  foure  Bookes  of,  226. 
Virgils  Gnat,  138. 
Visions  of  Bellay,  The,  138,  139. 
Visions  of  Petrarch,  The,  138. 
Visions  of  the  World's  Vanitie,  138. 
Vita  deir  Ammiraglio,  396. 
Vita  Sobria,  Discorsi  della,  Ixi,  340. 
Vita  Sobria,  Trattato  de  la,  339. 
Vite  delle  Donne  Illustri,  Le,  496. 
Vite  di  diciasette  Confessori  di  Cristo,  286. 
Vivant,  L.,  480. 

Vocabolario  Inglese  et  Italiano,  353,  354. 

Volpone  :  or  The  Fox,  Ixiv,  412. 

Volschaten,  Margaret,  9. 

Voltaire  (Francois-Marie  Arouet),  278,  455. 

Vos,  Gerard  John,  397. 

Voyage  and  Travaile :  of  M.  C.  Frederick, 

merchant  of  Venice,  etc.,  380. 
Voyages  and  Travels,  A  Collection  of,  383. 
Voyages  de  Loys  de  Bartheme  Bolognais,  375. 
Voynich,  W.  M.,  489. 

W.,  J..  279. 

W.,  N.,  465,  466,  468. 

W.,  R.  (Rowland  Willet),  91. 

W.,  W.,  336. 

Wadham  College,  Foundation  of,  Ixxix. 
Wadham,  Dorothy  Petre,  Ixxix. 
Wadham,  The  Letters  of  Dorothy,  Ixxx. 
Wadham,  Nicholas,  Ixxix. 
Waller,  Edmund,  Ixxiii,  158,  192,  431. 
Waller,  Edmund  {Lives  of  the  English  Poets), 
158. 

Walpole,  Horace,  Earl  of  Orford,  Ixv,  Ixvii, 
Ixviii,  Ixxix,  28,  67,  126. 


INDEX 


557 


Walsingham,  Sir  Francis,  xl,  lix,  Ixix,  124, 

125,  140,  318,  508. 
Walter,  William,  150,  227. 
Walther,  R.,  262. 

Walton,  Izaac,  Ixxvii,  152,  276,  283,  284, 

288,  341. 
Walton's  Lives,  284. 
Warburton,  John,  216. 
Ward,  A.  W.,  207,  406. 
Ward,  H.  L.  D.,  75. 
Ward,  John,  179,  180. 
Ward,  or  Warde,  William,  302,  312. 
Warde,  Dr.  Samuel,  293. 
Warner,  John,  290. 
Warner,  William,  41,  115,  126. 
Warton,  Thomas,  Ixxiv,  3,  10,  11,  19,  23,  26, 

30,  37.  41,  46,  65,  77,  84,  111,  139,  155, 

198,  227,  228,  232,  347,  503. 
Warw-ick,  Sir  Philip,  356. 
Waters,  W.  G.,  238. 

Watson,  Anne  Wentworth,  Lady  Rocking- 
ham, 432. 

Watson,  Thomas,  xl,  xli,  xlvii,  Ixxiii,  47,  116, 
123,  124,  125,  128,  129,  131,  132,  134,  136, 
137,  139,  166,  174. 

Watts,  George  Frederick,  232. 

Watts,  Isaac,  232. 

Way  to  Thrift,  The,  150. 

Weakest  Goeth  to  the  Wall,  The,  45. 

Webbe,  William,  41. 

Webster,  John,  4,  12,  16,  42,  45,  83,  106, 
447. 

Weelkes,  Thomas,  101,  148,  149,  161,  162, 
172. 

Weert  or  Wert,  Giaches  (Giachetto  di  Reg- 
gio),  129. 

Wentworth,  Thomas,  1st  Earl  of  Strafford, 
432. 

Wentworth,  William,  2nd  Earl  of  Strafford, 
104. 

Westminster  Abbey,  xxxix,  Ixxviii. 

Westminster  Review,  284,  295. 

Westward  for  Smelts,  97,  232. 

Westward  Hoe,  106,  447. 

"When  flowery  meadows  deck  the  year" 

(madrigal),  191. 
When  Yoti  See  Me,  You  Know  Me,  231. 
Whetstone,  George,  14,  16,  32,  33,  34,  46, 

47,  48,  71,  144,  200,  226. 
Whibley,  Charles,  404. 
"While  shepherds  w^atch'd  their  flocks  by 

night"  (carol),  231. 
White,  Andrew  D.,  267. 
Whitford  or  Whytford,  Richard,  280. 
Whitgift,  John,  xli,  Ixi,  91.  385,  406,  407. 
Whithorne,  or  Whitehorne,  Peter,  305,  306, 

307,  313,  421. 
Whitney,  Geoffrey,  470,  471. 
Wiburne.  D.,  423. 
Widow,  The,  13,  93. 
Wife  Punished,  14,  48,  236. 


Wiffen,  Benjamin  B.,  297. 

Wilbye,  John,  61,  119,  155,  156,  161,  162, 

173,  175. 
Wilkins,  George,  408. 
WiUes  or  Willey,  Richard,  373,  374. 
Willet,  Rowland,  91. 
William  I  "The  Silent,"  402. 
William  Longbeard,  The  Life  and  Death  of, 

60,  61. 
William  Longsword,  61. 
William  the  Conqueror,  36,  193. 
Williams,  Charles,  Ixvii. 
Williams,  L.,  494. 
Williams,  William,  353. 
Williamson,  Sir  Joseph,  Ixxix. 
Willis,  Robert,  295. 
WiUoughby,  Sir  Hugh,  381. 
Wilmot,  Robert,  13,  94,  151. 
Wilson,  John,  45. 

Wilson,  John  ("Christopher  North"), 
Ixxvi. 

Wilson,  Thomas,  74,  75. 
Winchester  (hymn),  231. 
Windsor  (hymn),  231. 
Wingfield,  Lady  Anne,  187. 
Wingfield,  Sir  Anthony.  187. 
Wingfield,  Sir  Edward,  73. 
Winter's  Tale,  The,  Ixiv. 
Wisdom  of  Doctor  Dodypoll,  The,  197. 
Wit  and  Mirth,  89,  101,  102. 
Witch,  The,  14,  43.  48.  71,  236,  406. 
Wither,  George,  180. 
Wits  Treasury,  Palladis  Tamia:  41. 
Woffington,  Margaret,  207. 
Wolfe,  John,  306,  445,  487,  488,  493,  496, 
497. 

Wolsey,  Thomas,  xl,  lx\'i. 

Woman  Killed  with  Kindness,  A,  17,  19,  42. 

Women  Beware  Women,  98. 

Women  Pleased,  10,  95,  96. 

Wonder  of  Women,  or  Sophonisba  her  Trag- 
edy, The,  15,  42,  178. 

Wonderful  Veriue  in  a  gentleman  of  Syenna, 
19. 

Wood,  Anthony  a,  30,  100,  107,  155,  277, 

279,  347,  416,  429,  485. 
Woodes,  Nathaniel,  254. 
Worde,  Wynkyn  de  (Jan  Van  Wynkyn),  150, 

227,  455. 
W(yrld,  The,  Ixxix. 
World  of  Wonders,  A,  84,  85,  86. 
TForWe  of  Wordes,  A,  353,  355,  356. 
Worthies  of  England,  The  History  of  the,  56, 

125,  210,  249,  470. 
Wotton,   Anne   Sackville   Fiennes,  Lady 

Dacre  of  the  South,  35. 
Wotton,  Sir  Henry,  xlvii.  lix,  Ixii,  Ixv,  13,  24, 

94,  151,  166,  209,  264,  278,  283,  284,  292, 

293,  508. 

Wotton,  Life  of  Sir  Henry,  152,  276,  277, 
284. 


558 


INDEX 


Wotton  or  Wooton,  Henry,  35. 
Wotton,  William,  Ixxi. 
Wright,  Edward,  382. 

Wriothesley,  Henry,  3d  Earl  of  Southamp- 
ton, 74,  75,  352,  412,  500. 
Wroth,  Sir  Thomas,  256. 
Wyatt,  Sir  Thomas,  119,  248,  346. 
Wyle,  Nicolaus  von,  8. 
Wyndham,  George,  450. 

Xanthippe,  81. 
Xaverii,  De  Vita  Fr.,  287. 
Xavier,  Saint  Francis,  287. 
Xavier,  The  Admirable  Ldfe  of  S.  Francis, 
287. 

Xenophon,  13,  314,  322. 

Yelverton,  Sir  Christopher,  198. 
Yong,  Francis  and  Susan,  52. 
Yong  Lady  in  Mylan,  A,  19. 
Yonge  Gentleman  of  Myllan,  A,  19. 
Yonge,  Nicholas,  128,  130,  163. 


Young,  or  Yong,  Bartholomew,  50, 73, 74, 469. 
Young,  M.,  269,  297. 
Yule,  Henry,  387. 
Yver,  Jacques  d',  35. 

Zadig,  456. 

Zambrini,  Francesco,  456. 

Zeitschrift  filr  vergleichende  Literaturge' 
schichte,  35. 

Zeno,  Antonio,  378,  379. 

Zeno,  Apostolo,  430. 

Zeno,  Nicol6,  378,  379. 

Zeno,  The  Annals  of  the  Voyages  of  the  Bro- 
thers Nicolb  and  Antonio,  378. 

Zeno,  The  Voyages  of  the  Venetian  Brothers, 
Nicold  and  Antonio,  378. 

Zenobia,  15. 

Zenobia,  Queen  of  Palmyra,  15. 
Zetto,  Gasparo,  163. 
Zodiacus  Vitae,  111,  112,  507. 
Zodyake  of  Lyfe,  The,  111,  507. 
Zuccaro,  Federigo,  Ixviii,  Ixix. 


Oft  war  ek  dasa  dur  ek  dro  thick. 
*  Oft  was  I  weary  when  I  tugged  at  thee.* 


This  line  was  found  inscribed  on  an  oar  cast  by  the  sea  on  the  coast  of  Iceland, 


CAMBRIDGE  .  MASSACHUSETTS 
U  .  S  .  A 


GETTY  RESEARCH  INSTITUTE 


3  3125  00986  6373 


